Word: pollocks
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Nearly all the artists of the New York School, beginning with Willem de Kooning and Jackson Pollock, were to some extent liberated and inspired by his example. The measure of his work can be taken from an exhibition now on view at the Guggenheim Museum in New York City...
...that animal, not as an animal, but the power of its forms." Nevelson was drawn to what was mythic and magical in sculpture just as a yearning for the primitive, the instinctively efficacious, was diffused throughout the American avant-garde in the 1940s. It was the root of Jackson Pollock's and Mark Rothko's early work and became an essential part of abstract expressionism in general, as it was of dance through the influence of Martha Graham...
...modernists retain the power to startle. Picasso's cubist women stare out from the canvas with the faces of monsters in Les Demoiselles d'Avignon; Le Corbusier's Villa Savoye belongs more to tomorrow than today, as it has for the past half-century. Jackson Pollock is still a puzzle to many people, who appreciate only the fancy prices his paintings now fetch. That lack of understanding is what makes this eight-part BBC series on 20th century art so valuable: it does not tell us where we are going, but it does tell us where...
...years from 1950 to 1954. His interest was music, and he frequented the concert halls. Her interest was art, and she spent her evenings in The Club in Greenwich Village and other haunts of the then avant-garde New York School of painting. At the nearby Cedar Bar, Jackson Pollock caroused, Robert Motherwell discoursed, Willem de Kooning waxed disputatious. Her hair was blond, her figure svelte, her age happily indeterminate (actually mid-30s) and her artistic commitment impeccable. She was on their wave length. Franz Kline, who was perfecting a slashing, black-and-white action painting style, took her with...
...some money: not big money but enough. And so she bought -not for high prices, but still important money in those days to those artists. She bought a painting that her friend Pollock called simply Number 28, for $3,000 (it is now worth $3 million). She paid de Kooning $2,700 for his 1949 canvas Attic (now worth up to $1.5 million). She bought Motherwells and Klines, as well as gentle canvases by Jack Tworkov, a Polish immigrant who had switched from figurative painting to abstract expressionism influenced by de Kooning. She bought Calders and Giacomettis, a Henry Moore...