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Jackson Pollock Night Sounds oil painting reproduction
Jackson Pollock Night Sounds oil painting reproduction

Jackson Pollock Totem Lesson 2 oil painting reproduction
Jackson Pollock Totem Lesson 2 oil painting reproduction

Jackson Pollock Two oil painting reproduction
Jackson Pollock Two oil painting reproduction

Jackson Pollock Number 15, 1948: Red, Gray, White, Yellow oil painting reproduction
Jackson Pollock Number 15, 1948: Red, Gray, White, Yellow oil painting reproduction

Jackson Pollock Number 12A, 1948: Yellow, Gray, Black oil painting reproduction
Jackson Pollock Number 12A, 1948: Yellow, Gray, Black oil painting reproduction

Jackson Pollock Number 4, 1948: Gray and Red oil painting reproduction
Jackson Pollock Number 4, 1948: Gray and Red oil painting reproduction

Jackson Pollock Comet oil painting reproduction
Jackson Pollock Comet oil painting reproduction

Jackson Pollock Scent oil painting reproduction
Jackson Pollock Scent oil painting reproduction

Jackson Pollock Number 5 oil painting reproduction
Jackson Pollock Number 5 oil painting reproduction

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Jackson Pollock

(1912-1956)

The chief American exponent of action painting made studies for his apparently unpremeditated works, done on continuous lengths of canvas tacked to the floor, and later cut up with selective care. Jackson Pollock abandoned the use of brushes in 1947, pouring the paint straight on to the canvas, but in 1953 he began to employ brushes again. He said of his paintings (1951): 'I don't work from drawings or color sketches. My painting is direct . . . I want to express my feelings rather than illustrate them. When I am painting I have a general notion of what I am about. I can control the flow of paint: there is no accident, just as there is no beginning and no end.'

Jackson Pollock’s famous oil paintings include:

  • The Flame
  • (Naked Man with Knife)
  • Male and Female
  • The Moon-Woman Cuts the Circle
  • Gothic
  • Totem Lesson 1
  • Ocean Greyness
  • (Composition with Donkey Head)
  • (Composition with Pouring II)
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