Jackson Pollock, the master of Abstract Expressionism, reached an endgame with his groundbreaking drip paintings in 1950, and then experimented with a new technique, akin to drawing, of pouring
thinned black enamel onto unprimed cotton duck.
This was the year that saw Pollock put aside his colored paints and begin «drawing» (squirting, flicking, and dribbling, with uncanny control)
thinned black enamel paint onto beige, unprimed, cotton duck canvases.
He also arranged for Noland and Louis to visit Helen Frankenthaler's New York studio in 1953, where they were introduced to her method of soaking turpentine - thinned oil pigment into unsized, unprimed canvas (a technique Frankenthaler herself had learned from Pollack's 1951 black - and - while stain paintings made with
thinned black enamel paint).
Not exact matches
Some of those I'd been most drawn to appeared reduced, hardened and flattened, a little too obvious: the 1973 expanse of white Enamelac on an aluminium base that shows in a
thin line down the left - hand side and along the bottom; a row of square pieces from the same year, their fat L - shapes of
black (oxidised copper, apparently) set off by smaller white baked -
enamel squares; and 1985's Catalyst III, with its steel bolts and
thin, intermittent lines of
black enamel seeming to divide the aluminium base and contain it in a pointedly incomplete frame.