Only the glossy dripped black, one of the last paints applied, is definitely house paint. With the unstretched fabric spread out on the studio floor, the artist dribbled, dripped, and poured colored paints in orange, silver, yellow, green, white, and black onto the fabric sometimes straight from the can, or with sticks and stiffened brushes.
A close look at this work reveals the decisions the artist was making in the act of painting. His control was amazing. Using a stick was difficult enough, but the basting syringe was like a giant fountain pen.
With it, he had to control the flow of the paint as well as his gesture. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides, and literally be in the painting. In Pollock described his painting method this way:. Pollock would also rest a stick on the inside of a tin of paint, then angle the tin so the paint would pour or drip down the stick continuously, onto the canvas.
Or he would make a hole in a can to get an extended line. With experience, it seems possible to control the flow of paint to a great extent … I deny the accident.
To stop people trying to find representational elements in his paintings, Pollock abandoned titles for them and started numbering them instead.
Lee Krasner said Pollock "used to give his pictures conventional titles…but now he simply numbers them. Numbers are neutral. They make people look at a picture for what it is—pure painting.
Sources Alloway, L. You can imagine rotations of the elbow and of the shoulder, variously launching or slowly drizzling paint onto the canvas below. For Pollock, the drama of making this painting on the floor meant that not only physically but emotionally he could be in the painting, stepping into the canvas, but also losing himself in almost this trance-like or zone-like type of painting process.
Looking at the paint below you on the surface of the canvas, reacting to it, and adjusting whatever gestures you have to create this painting. Now, traditionally in painting, people would compose one shape according to another one.
A little bit of red here, according to a little bit of blue there, according to a lot of yellow over here. Well, for Pollock, he threw that out the window, as he did so many things.
Rather, Pollock is composing one line in juxtaposition with another one, and not in any haphazard way, but rather in an all over way, and this all-overness, if you will, becomes key for Pollock. Since looking at this painting, there's no one spot for your eye to rest.
Traditionally, line had been used quite literally to delineate forms, to draw the outlines of forms, which would be filled in. You can imagine landscape paintings. The lines define the mountains, clouds, and so on. Well, here the line is not defining anything. Non-invasive identification of metal-oxalate complexes on polychrome artwork surfaces by reflection mid-infrared spectroscopy. Standeven HAL. House Paints, — history and use. The influence of organic solvents on the mechanical properties of alkyd and oil paint.
Cappitelli F. J Anal Appl Pyrol. Pollock interview with William Wright for the Sag Harbor radio station, taped but never broadcast.
Download references. All authors read and approved the final manuscript. Buti and P. Rosi, F. Gabrieli, A. You can also search for this author in PubMed Google Scholar. Correspondence to C. Reprints and Permissions. Herit Sci 4, 18 Download citation. Received : 15 January Accepted : 12 May Published : 16 June Anyone you share the following link with will be able to read this content:.
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Rosi 1 , C. Grazia 2 , R. Fontana 3 , F. Gabrieli 1 , L. Pensabene Buemi 4 , E. Pampaloni 3 , A. Background In the last decades, many efforts have been devoted to the development of non-invasive and mobile spectroscopic methods based on point analysis and hyper multi -spectral imaging [ 1 , 2 ].
Experimental Alchemy The following describes the experimental details of the instruments and methods employed. Multispectral Vis—NIR scanning The instrument, specifically designed for the in situ diagnostics of painted surfaces, provides a set of images 16 in the Vis and 16 in the NIR range that can be analyzed either as a stack of wavelength-resolved images multispectral Vis—NIR reflectography or as a series of point reflectance spectra, one for each sampled pixel on the surface Vis—NIR spectrometry [ 9 , 10 ].
Raman spectroscopy Raman analysis was performed with the portable Xantus-2 by Rigaku. Results and discussion Molecular identification and mapping of colors The integrated multi-technique approach permitted the molecular identification of pigments, colorants and extenders contained in the different paints.
Full size image. References 1. Article Google Scholar 2. Article Google Scholar 3. Google Scholar 4. Article Google Scholar 5. Article Google Scholar 6. Article Google Scholar 7. Article Google Scholar 9. Article Google Scholar Google Scholar Competing interests The authors declare that they have no competing interests. Grazia, A.
Pensabene Buemi Solomon R.
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