User:Mangoicecream77/sandbox

Paul Jackson Pollock (/ˈpɒlək/; January 28, 1912 – August 11, 1956) was an American painter and a major figure in the abstract expressionist movement.

He was widely noticed for his technique of pouring or splashing liquid household paint onto a horizontal surface ('drip technique'), enabling him to view and paint his canvases from all angles. It was also called 'action painting', since he used the force of his whole body to paint, often in a frenetic dancing style. This extreme form of abstraction divided the critics: some praised the immediacy of the creation, while others derided the random effects. In 2016, Pollock's painting titled Number 17A was reported to have fetched US$200 million in a private purchase.

A reclusive and volatile personality, Pollock struggled with alcoholism for most of his life. In 1945, he married the artist Lee Krasner, who became an important influence on his career and on his legacy. Pollock died at the age of 44 in an alcohol-related single-car accident when he was driving. In December 1956, four months after his death, Pollock was given a memorial retrospective exhibition at the Museum of Modern Art (MoMA) in New York City. A larger, more comprehensive exhibition of his work was held there in 1967. In 1998 and 1999, his work was honored with large-scale retrospective exhibitions at MoMA and at The Tate in London.[1][2]

Early life (1912–1936)
Paul Jackson Pollock was born in Cody, Wyoming, in 1912,[3] the youngest of five sons. His parents, Stella May (née McClure) and LeRoy Pollock, were born and grew up in Tingley, Iowa, and were educated at Tingley High School. Pollock's mother is interred at Tingley Cemetery, Ringgold County, Iowa. His father had been born with the surname McCoy, but took the surname of his adoptive parents, neighbors who adopted him after his own parents had died within a year of each other. Stella and LeRoy Pollock were Presbyterian; they were of Irish and Scots-Irish descent, respectively.[4] LeRoy Pollock was a farmer and later a land surveyor for the government, moving for different jobs.[3] Stella, proud of her family's heritage as weavers, made and sold dresses as a teenager.[5] In November 1912, Stella took her sons to San Diego; Jackson was just 10 months old and would never return to Cody.[5] He subsequently grew up in Arizona and Chico, California.

While living in the Vermont Square neighborhood of Los Angeles, he enrolled at Manual Arts High School,[6] from which he was expelled. He had already been expelled in 1928 from another high school. During his early life, Pollock explored Native American culture while on surveying trips with his father.[3][7]

In 1930, following his older brother Charles Pollock, he moved to New York City, where they both studied under Thomas Hart Benton at the Art Students League. Benton's rural American subject matter had little influence on Pollock's work, but his rhythmic use of paint and his fierce independence were more lasting.[3] In the early 1930s, Pollock spent a summer touring the Western United States together with Glen Rounds, a fellow art student, and Benton, their teacher.[8] [9]

Career (1936–1954)
Pollock was introduced to the use of liquid paint in 1936 at an experimental workshop in New York City by the Mexican muralist David Alfaro Siqueiros. He later used paint pouring as one of several techniques on canvases of the early 1940s, such as Male and Female and Composition with Pouring I. After his move to Springs, he began painting with his canvases laid out on the studio floor and he developed what was later called his "drip" technique.

From 1938 to 1942 Pollock worked for the WPA Federal Art Project.[10] During this time Pollock was trying to deal with his established alcoholism; from 1938 through 1941 he underwent Jungian psychotherapy with Dr. Joseph Henderson and later with Dr. Violet Staub de Laszlo in 1941–42. Henderson engaged him through his art, encouraging Pollock to make drawings. Jungian concepts and archetypes were expressed in his paintings.[11][12] Some historians[who?] have hypothesized that Pollock might have had bipolar disorder.[13] Pollock signed a gallery contract with Peggy Guggenheim in July 1943. He received the commission to create the 8-by-20-foot (2.4 by 6.1 m) Mural (1943)[14] for the entry to her new townhouse. At the suggestion of her friend and advisor Marcel Duchamp, Pollock painted the work on canvas, rather than the wall, so that it would be portable. After seeing the big mural, the art critic Clement Greenberg wrote: "I took one look at it and I thought, 'Now that's great art,' and I knew Jackson was the greatest painter this country had produced."[15] The catalog introducing his first exhibition described Pollock's talent as "volcanic. It has fire. It is unpredictable. It is undisciplined. It spills out of itself in a mineral prodigality, not yet crystallized."[16]