Jackson Pollock (1912-1956) was a major figure in the abstract expressionist movement and the most influential American painter of the twentieth century. Although he died at the age of 44, he left an unsurpassed body of work. Throughout his life, Pollock wrote very little about his own art or that of others. Nevertheless, in the few writings we do have, and in a few unpublished, undated notes-all of which are gathered together in this volume-the themes are remarkably similar. After acknowledging his initial debt to the Native American sand painters, who gave him the idea for putting the canvas on the floor and working it "in the round", Pollock routinely referred to his interest in the unconscious as the source of modern art, as it enabled the direct expression of an "inner world", of individual feeling and experience of the modern age. Moreover, it is clear from his statements that Pollock himself was open to the possibility of such a subjective approach to painting as an international enterprise. He never suggested that the modern world, characterised, in his words, by "the airplane, the atom bomb, the radio", and which the modern artist had the responsibility to express, was specifically American, but rather that these were features of modern life in a much broader sense. In her in-depth essay, Nancy Jachet sketches an accurate profile of the artist and takes a closer look at his work, as well as detailing the enormous number of studies on the artist.
A compelling look at Jackson Pollock's vibrant, quintessentially American art and the turbulent life that gave rise to it Jackson Pollock (1912-1956) not only put American art on the map with his famous "drip paintings," he also served as an inspiration for the character of Stanley Kowalski in Tennessee Williams's A Streetcar Named Desire--the role that made Marlon Brando famous. Like Brando, Pollock became an icon of rebellion in 1950s America, and the brooding, defiant persona captured in photographs of the artist contributed to his celebrity almost as much as his notorious paintings did. In the years since his death in a drunken car crash, Pollock's hold on the public imagination has only increased. He has become an enduring symbol of the tormented artist--our American van Gogh. In this highly engaging book, Evelyn Toynton examines Pollock's itinerant and poverty-stricken childhood in the West, his encounters with contemporary art in Depression-era New York, and his years in the run-down Long Island fishing village that, ironically, was transformed into a fashionable resort by his presence. Placing the artist in the context of his time, Toynton also illuminates the fierce controversies that swirled around his work and that continue to do so. Pollock's paintings captured the sense of freedom and infinite possibility unique to the American experience, and his life was both an American rags-to-riches story and a darker tale of the price paid for celebrity, American style.
Exhibiting Jackson Pollock in Florence and comparing him to Michelangelo is the challenge that the authors and curators of this exhibition faced. One originates in drawing that with all its strength attempts to respect the order of nature and of the divine. The other is based in the phenomenology of the unconscious and mystical geometry, the perfect representation of an expanding universe. What Michelangelo and Pollock shared was the inspired frenzy they both transmitted as they worked, a sort of agonistic trance that rendered them extraneous to the outer world.
This concise study of Jackson Pollock provides a reliable survey of his life and work and an understanding of his paintings--their origins, meanings, and influence. Unlike other books on Pollock that deal extensively with his life or with formal analysis of his works, Cernuschi's is broadly interpretive, discussing and explaining concerns and meanings crucial to an understanding of Pollock's paintings. The first part of the book surveys Pollock's life and work with particular attention to the artist's intentions and the interpretation of abstraction. The second part deals with the issues raised by Pollock's art above and beyond his intentions and how these issues intersect with the work of his contemporaries and with other intellectual currents. The final chapter discusses Pollock's influence and the importance of criticism in shaping this influence. It also deals with the problems of defining modernism and postmodernism. Thoughtful and accessible, Cernuschi's study explains the complexity and meaning of Pollock's art for anyone interested in twentieth-century art and the pivotal position of Jackson Pollock in art since 1945. There are notes, a selected bibliography, and an index.
This book analyzes the structure of our constitutional system of government, providing an overview of the constitutional history of American federalism as it has been developed in decisions of the United States Supreme Court. Federalism: A Reference Guide to the United States Constitution provides a thorough examination of this significant and distinctive part of the U.S. constitutional system, documenting its role in major domestic constitutional controversies in every period of American history. Although the book is organized historically rather than doctrinally, the marked evolutions of important areas of doctrine are addressed over time. These subject areas include the scope of Congress's power under the Commerce Clause, the scope of Congress's powers under the Fourteenth and other post-Civil War Amendments, the states' authority to regulate commercial and economic matters when Congress is silent, the principle of the supremacy of federal law and the law of preemption that follows from it, intergovernmental and sovereign immunities, the obligation of state courts to enforce federal law, and the scope of national power to regulate or impose obligations on the states.
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