Jackson Pollock, American, b. Cody, Wyoming, 1912–1956 Search this
Medium:
Oil, enamel, and cigarette fragment on canvas mounted on fiberboard
Dimensions:
62 x 37 1/4 in. (157.5 x 94.6 cm)
Type:
Painting
Date:
1949
Provenance:
Betty Parsons Gallery, New York, to 12 June 1951
Richard Romney, New York, acquired June 12, 1951
Betty Parsons Gallery, New York, 1961
Sotheby & Co., London, Sale, 6 December 1961, no. 42, ill. facing p. 27
Frank Perls Gallery, Beverly Hills, CA, 1961
Mr. and Mrs. David E. Bright, Beverly Hills, CA, 1964
Frank Perls Gallery, Beverly Hills, CA, to 28 October 1967
Joseph H. Hirshhorn, New York, 28 October 1967-1972
Gift of Joseph H. Hirshhorn, 1972
Exhibition History:
BETTY PARSONS GALLERY, New York. "Jackson Pollock," 21 November-10 December 1949.
YALE UNIVERSITY ART GALLERY, New Haven, Connecticut. "Seventeen Modern American Painters: The School of New York," 22 February-19 March 1950, no. 22.
FRANK PERLS GALLERY, Beverly Hills, California. "Seventeen Modern American Painters: The School of New York," 11 January-7 February 1951.
CALIFORNIA PALACE OF THE LEGION OF HONOR, San Francisco. "Sixth Annual Exhibition of Contemporary American Painting," 25 November 1950-1 January 1951.
ART INSTITUTE OF CHICAGO. "60th Annual American Exhibition of Painting and Sculpture," 25 October-16 December 1951, no. 133.
LOS ANGELES COUNTY MUSEUM OF ART. "Contemporary American Art," 24 April-19 May 1963.
MARLBOROUGH-GERSON GALLERY, New York. "Jackson Pollock," January-February 1964, no. 92 (lent by Mr. and Mrs. David E. Bright).
M. KNOEDLER & CO., Paris. "Six Peintres Americains," 18 October-25 November 1967.
HIRSHHORN MUSEUM AND SCULPTURE GARDEN, Smithsonian Institution, Washington, DC. "Inaugural Exhibition," 4 October 1974-15 September 1975, no. 698.
MUSEO DEL PALACIO DE BELLAS ARTES, Mexico City. "Painting in the United States from Public Collections in Washington, DC," 18 November 1980-4 January 1981, no. 69, p. 178.
NASSAU COUNTY MUSEUM OF ART, Roslyn, New York. "The Abstract Expressionists and Their Precursors," 12 January-22 March 1981, no. 66.
CENTRE GEORGES POMPIDOU, Paris. "Jackson Pollock," 19 January-19 April 1982, p. 169. Tour: STADELESCHES KUNSTINSTITUT and STADTISCHE GALERIE, Frankfurt am Main, late May-31 July 1982.
STEDELIJK MUSEUM, Amsterdam. "La Grande Parade: Painting After 1945," December 1984-15 April 1985.
ALBRIGHT-KNOX ART GALLERY, Buffalo, New York. "Abstract Expressionism: The Critical Developments," 19 September-29 November 1987.
HIRSHHORN MUSEUM AND SCULPTURE GARDEN, Smithsonian Institution,
Washington, DC. "Comparisons: An Exercise in Looking," 11 December 1990-21 April 1991.
MUSEUM OF MODERN ART, New York. "Jackson Pollock: A Retrospective," 1 November 1998-2 February 1999. Tour: TATE GALLERY, London, 11 March-6 June 1999.
MUSEE D'ART AMERICAIN GIVERNY, France. "American Moderns 1900-1950," 25 July-31 October 2000, no. 21.
SMITHSONIAN AMERICAN ART MUSEUM, Smithsonian Institution, Washington, DC. Grand re-opening exhibition, 1 July 2006-4 July 2007.
TATE LIVERPOOL. "Jackson Pollock: Blind Spots," 30 June-18 October 2015, no. 250, color ill. p. 138. Tour: DALLAS MUSEUM OF ART, 20 November 2015-20 March 2016.
HIRSHHORN MUSEUM AND SCULPTURE GARDEN, Smithsonian Institution, Washington, DC. "Manifesto: Art x Agency," 15 June 2019-31 January 2020.
MUSEE NATIONAL DES BEAUX-ARTS DU QUEBEC. "America. Between Dreams and Realities: Selections from the Hirshhorn Museum and Sculpture Garden Collection," 9 June-5 September 2022, color ill. p. 122.
Published References:
ROBINSON, AMY. "Reviews and Previews: Jackson Pollock," Art News XLVIII/8 (December 1949) p. 43.
SORZANO, MARGO. "Seventeen American Painters," Arts and Architecture 68/1 (January 1951) p. 28.
UNSIGNED. Sotheby & Co., London, advertisement, Art International V/9 (20 November 1961) p. 73 (inside back cover).
O'CONNOR, FRANCIS V. Jackson Pollock (New York: Museum of Modern Art, 1967) p. 48.
UNSIGNED. "Joseph H. Hirshhorn and Sculpture Garden," Smithsonian Year 1968, 1969, p.222.
RAYNOR, VIVIEN. "A Preview of the New Hirshhorn Museum," New York Times (14 July 1974) Sec. 2.
LERNER, ABRAM, ed. The Hirshhorn Museum and Sculpture Garden (New York: Abrams, 1974) p. 734, pl. p. 482.
RICHARD, PAUL. "The Inspired Greed of Joe Hirshhorn," Potomac, The Washington Post Sunday Magazine (29 September 1974) p. 18.
CARMEAN, E.A. Jr. "Morris Louis and the Modern Tradition: I: Abstract Expressionism," Arts Magazine LI 1 (September 1976) p. 71.
UNSIGNED. "The Artist at Work in America," (Washington D.C.: International Communication Agency, 1979).
HUDSON, ANDREW. "Jackson Pollock and Lavender Mist," Galleries, Washington, DC, September 1978, p. 12.
O'CONNOR, FRANCIS VALENTINE and EUGENE VICTOR THAW. Jackson
Pollock: A Catalogue Raisonne of Paintings, Drawings and Other Works Vol. 2 (New Haven, CT: Yale University Press, 1978) no. 250.
UNSIGNED. "Piezas Admirables del Museo Hirshhorn se Expundran Aqui," Excelsior (20 October 1980) p. 4B.
BLESSING, MIRTA. "Cultiz Casas," El Universal (November 1980) p. 2.
UNSIGNED. "Exposicion: Pintura Actual de los Estados Unidos," El Sol de Mexico (4
November 1980) p. 6D.
RIDING, ALAN. "Major Show of U.S. Art Opens in Mexico," The New York Times
(20 November 1980).
UNSIGNED. "La Pintura Actual de los Estados Unidos," Novedas (23 November 1980), p. 26.
LAGE, MARIO. "Plastica Actual," El Universal (24 November 1980) p. 3.
DAVAL, JEAN-LUC. Oil Painting: From Van Eyck to Rothko (Geneva, Switzerland: Skira, 1985) p. 95, 98.
STEDELIJK MUSEUM. Joel Shapiro (Amsterdam: Stedelijk Museum, 1985) p. 10.
UNSIGNED. "Ausstellung: Ein unheimlich Starker Abgang," Stern (1985) p. 187.
UNSIGNED. "Genius or Fraud?" The Wilson Quarterly 1x. no. 2 (Spring 1985).
ROSENFELD, LUCY DAVIDSON. What's in a Painting? (Portland, ME: J. Weston Walch, 1986) pl. 41, p. 32.
STELLA, FRANK. Working Space (Cambridge, MA: Harvard University Press, 1986) fig. 18, p. 62.
ALLEN, JANE ADDAMS. "An Eclipsed Art Critic Shines Anew," Insight (13 April 1987) ill. P. 63.
TURNBULL, BETTY. "Karen Carson," Perpetual Motion: Karen Carson, Margaret
Nielsen, John Rogers, Tom Wudl (Los Angeles, CA: Fellows of Contemporary Art, 1987) p. 14.
HUDSON, ANDREW. "Disappearing Masterpieces," Museum & Arts Washington IV/3 (May/June 1988) p.63, 78.
BARTON, BRUCE and JAMES CRAIG. Thirty Centuries of Graphic Design (New York: Watson-Guptill, 1989) fig. 2, p. 171.
BOODRO, MICHAEL. "Art & Fashion: A Fine Romance," ArtNews 89/7 (September 1990) p.22 (reproduced sideways with no credit).
BURCHARD, HANK. "Now Everyone's a Critic," Washington Post Weekend (14 December 1990) p.55.
GIBSON, ERIC. "Hirshhorn Asks Right Questions," Washington Times (13 December 1990) p. E3.
PARK, EDWARDS. "Around the Mall and Beyond," Smithsonian 21/9 (December 1990) p. 18.
UNSIGNED. Hirshhorn Museum and Sculpture Garden: Winter/Spring 1991 Calendar (Washington D.C.: Smithsonian, 1991) ill. under "documentaries" heading.
HALL, LEE. Betty Parsons: Artist, Dealer, Collector (New York: Harry N. Abrams,1991) p. 78.
WELZENBACH, MICHAEL. "How to be an Art Critic," Washington Post (13 January 1991).
CROWTHER, PAUL. Critical Aesthetics and Postmodernism (Oxford: Clarendon Press, 1993) p. 98-99.
UNSIGNED. Contemporary Great Masters: Jackson Pollock (Tokyo: Kodansha, 1994) fig. 41.
MARTINEZ, BENJAMIN and JACQUELINE BLOCK. Visual Forces: An Introduction to Design 2nd ed. (New Jersey: Englewood Cliffs/Prentice Hall, 1995), fig. C, p. 223.
ROSENZWEIG, PHYLLIS. "Number 3, 1949: Tiger, 1949," in Hirshhorn Museum and
Sculpture Garden: 150 Works of Art (Washington D.C.: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 1996) p. 80-81.
UNSIGNED. Family Guide Card (Washington D.C.: Smithsonian, 1996) ill.
HENNESSEY, MAUREEN HART and ANNE KNUTSON. Norman Rockwell: Pictures for the American People (New York: Harry N. Abrams, 1999) p. 84.
UNSIGNED. Poster and magazine advertisement for Jackson Pollock exhibition. (London: Tate Gallery, 1999).
HERSKOVIC, MARIKA. New York School abstract expressionists : artists choice by
artists : a complete documentation of the New York painting and sculpture annuals, 1951-1957 (Franklin Lakes, NJ: New York School Press, 2000).
MUSEE D'ART AMERICAIN. American Moderns 1900-1950 (Giverny, France: Musee d'Art Americain, 2000) fig. 21, p. 73.
HELLER, NANCY. Why a Painting is Like a Pizza? (Princeton, NJ: Princeton University Press, 2002).
AQUIN, STEPHANE, et al. Hirshhorn Museum and Sculpture Garden: The Collection (New York: DelMonico Books, 2022), pl. 162, p. 177.
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1972
