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Autumn Rhythm (Number 30) is a 1950 abstract expressionist drip painting by American artist Jackson Pollock.[1][2] The work was purchased in 1957[3] by curator Robert Beverly Hale[4] for the collection of the Metropolitan Museum of Art, where it remains on display.[1] The painting consists of muted colors such as black, white and brown paint, aggressively splattered and interlaced throughout an unpainted canvas background.[5][6]

Pollock originally titled the painting Number 30, believing that titles affected how viewers perceived paintings,[7] but it was later retitled Autumn Rhythm.[who?][8]

Hans Namuth's photographs of Pollock, which culminated in his 1980 book Pollock Painting, included images of Pollock painting Autumn Rhythm, which revealed that the painting was largely painted right-to-left.[9]

Researchers looking at the underlying fractal geometry of Pollock's work have estimated the fractal dimension of the drip patterns in Autumn Rhythm at 1.67.[10][5]

Critique on Jackson Pollock article:

-Introductory section is clear, direct and to the point. It provides quick factual information of his artistic style, short personal history and a few mentions of the exhibits of his artwork.

-The contents are organized and labeled in a cohesive manner, making it easier for readers to focus on specific topics/sections.

Sources for The Slave Market (Gérome Painting)

https://depts.washington.edu/chid/intersections_Autumn_2010/Archer.html#_edn17

Ali, I. (2015). The harem fantasy in nineteenth-century Orientalist paintings. Dialectical Anthropology, 39(1), 33-46

Boone, J. (2014). The homoerotics of Orientalism.

Pinder, K. (2002). Race-ing art history : Critical readings in race and art history. New York: Rutledge. (?)

Afshar, H. (2000). Age, gender and slavery in and out of the Persian harem: A different story. Ethnic and Racial Studies, 23(5), 905-916.

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The Slave Market (French: Le Marché d'esclaves) is an 1866 painting by the French artist Jean-Léon Gérôme. It depicts an unspecific Middle Eastern or North African setting where a man inspects the teeth of a nude, female slave.

The painting was bought by Adolphe Goupil on 23 August 1866 and exhibited at the Salon in 1867. It was bought and sold several times until Robert Sterling Clark bought it in 1930. Since 1955 it is part of the Clark Art Institute's collection.[1]

Along with Gérôme's The Snake Charmer, The Slave Market has become an iconic example of 19th-century orientalist art.[1]

Reception[edit | edit source]
Maxime Du Camp, who had travelled extensively in the Near East, reviewed the painting from the 1867 Salon. He located the motif to Cairo's slave market and described the painting as "a scene done on the spot".[1] Du Camp wrote:

It is one of these [more expensive] women, an Abyssinian, that M. Gérôme has taken as the principal figure of his composition. She is nude and being displayed by the djellab, who has the fine head of a brigand accustomed to every sort of abduction and violence; the idea of the eternal soul must not very often have tormented such a bandit. The poor girl is standing, submissive, humble, resigned, with a fatalistic passivity that the painter has very skillfully rendered.[1]

Gender and Sexuality
In an art historical context, Harem scenes depicted domestic spaces for the women in the Muslim societies, the males were only included in barbaric and sexual relations. This painting presents an unspecific Middle Eastern or North African setting in which a man inspects the teeth of a nude, female slave. Women were depicted with a passive sexuality, while the men were depicted as violent and disrespectful towards women. The female nude and its eroticism led to a desirability of women as these physically beautiful and subdued figures. Oriental men were depicted as less, they were violent figures who objectified women in works of art that presented the trading of women. The gender relations between men and women within Orientalist scenes....

Race
Women who were presented in these scenes often resembled their European counterparts and its ideals of beauty. The exotic Orientalist females have the allure of a fair-skinned, slender yet curvy figure. Orientalist women were seen as desirable because of their physical features in comparison to the males, who were depicted as dark-skinned and violent.