What kind of paint jackson pollock use

With the unstretched fabric spread out on the studio floor, the artist dribbled, dripped, and poured colored paints in orange, silver, yellow, green, white, and black onto the fabric sometimes straight from the can, or with sticks and stiffened brushes.

A close look at this work reveals the decisions the artist was making in the act of painting. Some of the paints are matte, while others are glossy, and the lines vary from thick to thin and drawn out.

I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides, and literally be in the painting. In Pollock described his painting method this way:. Pollock would also rest a stick on the inside of a tin of paint, then angle the tin so the paint would pour or drip down the stick continuously, onto the canvas. Or he would make a hole in a can to get an extended line. With experience, it seems possible to control the flow of paint to a great extent … I deny the accident.

To stop people trying to find representational elements in his paintings, Pollock abandoned titles for them and started numbering them instead. Lee Krasner said Pollock "used to give his pictures conventional titles…but now he simply numbers them. Numbers are neutral. They make people look at a picture for what it is—pure painting.

Sources Alloway, L. Quoted in Cernuschi, p. Friedman, B. New York , pp. The spatial resolution is of about 28 mm 2 and the probe head-to-surface distance is more than 1 cm. Raman analysis was performed with the portable Xantus-2 by Rigaku. It is equipped with a double laser excitation at and nm.

In both cases, the laser power at the sample can be software modulated thus avoiding any sample damage. In both configurations the spatial resolution is about 4 mm 2. The integrated multi-technique approach permitted the molecular identification of pigments, colorants and extenders contained in the different paints. The key spectral features obtained by point analysis are reported in Figs. For those colors exhibiting similar hues but different chemical compositions, a mapping procedure based on false color rendering, obtained by properly mixing three spectral planes from the Vis—NIR multispectral imaging set, has been attempted; the results are shown in Fig.

The corresponding spectra, on whose basis the monochromatic images were chosen, are provided as an additional file see Additional file 2. Details of the visible image and spectral features of paints denoted as white1 and white2. Details of the visible image and spectral features of paints denoted as yellow1 , yellow2 and orange.

Details of the visible image and spectral features of paints denoted as red1 and red2. Details of the visible image and key spectral features of deep red and violet paints. Details of the visible image and key spectral features of paints denoted as green1 and green2. Details of the visible image and key spectral features of paints denoted as blue1 and blue2.

False color rendering obtained from the Vis—NIR multispectral analysis of the upper right corner of Alchemy. Three types of white paints are visible: i a cold and opaque white preparation layer, applied with discrete and irregular brushstrokes or a spatula directly on the canvas; ii a cold, opaque white with a paste-like consistency, here denoted as white1 Fig.

False color image from multispectral Vis—NIR analysis confirmed that it is mainly visible especially along the margins, where the painting is left at its early stages and fewer layers are applied and both the canvas and the first layer of color are visible Fig. The presence of titanium dioxide in the anatase modification, tentatively indicated by the weak inflection point at nm in the reflectance spectrum Fig. Diversely, titanium dioxide in the rutile structure has been detected in the white2 paint areas by combining UV—Vis-NIR reflection [ 13 ] and Raman scattering analysis Fig.

XRF analyses on yellow1 and yellow2 have revealed elemental compositions typical of cadmium-zinc-sulfides Fig. Barium sulfate has been identified by reflection FTIR, as the extender of both yellow1 and yellow2. A closer examination of the first derivative spectra collected on both yellow1 and yellow2 areas Fig. The average zinc fraction has been determined to be of about 0. Very weak luminescence bands data not shown were detected in the red-NIR region for both the yellows and ascribed to deep level emissions DLE [ 11 ]; these signals although too low to be used for confirming the stoichiometry, can be considered to further underline the similarity between the chemical composition of pastose and diluted Cd-based yellows.

Thus, non-invasive data XRF and UV—Vis-NIR reflection and emission agreed indicating that the pigment and filler of yellow1 and yellow2 are the same, at least within the sensitivity limit of non invasive methods.

As for the orange color which mainly appears as a thick paint, Fig. Two types of red paints having a similar hue can be visually discriminated across the painting on the basis of the surface texture and morphology: a glossy and very liquid paint applied by pouring and flowing onto the bottom edge, here denoted as red1 and an opaque and thick paint applied as long and thin lines, here denoted as red2 Fig.

The identification has been confirmed by Raman spectroscopy which gave spectral profiles Fig. The reflectance profile Fig. Following the method reported in [ 12 ], a deeper examination of the optical band gap has revealed the pigment stoichiometry with a selenium molar fraction of about 0. The identification has been supported by the emission profiles in the red-NIR range Fig. From the energy position of the first DLE band, the Se molar fraction has been estimated to be of about 0.

The Raman spectrum recorded on a red2 paint from the edge reported in Fig. The differences between the reflectance profiles of red1 and red2 Fig. In the false color image, shown in Fig. Although not so widespread, also dark deep red and bright violet tonalities are visible across the painting, appearing as opaque and flat paints and thin dripping lines, respectively.

As shown in Fig. In Fig. Near-FTIR revealed the molecular identification of the violet pigment. Diversely, manganese violet is painted as final applications of both thin swirls and small patches of full-body paint. On some of the green paints, XRF measured strong signals of chromium Fig. The hydrated form of chromium oxide here indicated as green1 has been conclusively identified thanks to UV—Vis-NIR reflection spectroscopy [ 18 ]. Another type of green, labelled as green2 , has been easily identified as phthalocyanine green, probably in mixture with anatase, by analyzing its vibrational and electronic spectral properties [ 25 , 26 ]: in Fig.

False color analysis from multispectral VIS—NIR data set allowed for mapping the distribution of the two types of green pigments across the entire painting Fig. Two types of blue paints of similar hue but rather different surface texture are visible: blue1 , generally applied as a thick and full-bodied paint, and blue2 , applied as a thin paint layer.

Blue 1 has been clearly identified as phthalocyanine blue from both its characteristic UV—Vis-NIR reflectance profile [ 25 , 27 ] and Raman pattern [ 27 ] Fig. Blue 2 is instead composed of ultramarine blue: also in this case, the experimental identification was achieved by UV—Vis-NIR reflection and Raman spectroscopy, as reported in Fig. Ultramarine blue is often observed along with variable signals of lead white, the blue pigment is in fact often applied over the lead white ground.

False color rendering shown in Fig. As it might be expected, black and silver paints information could be acquired only by XRF, which indicated the use of carbon black and aluminum respectively.

The characterization of the organic media was accomplished by reflection FTIR which proved to enable the non-invasive identification of the chemical classes for the most commonly used natural and synthetic polymers [ 28 ]. Newman's Onement I, The Painting Techniques of Barnett Newman. Why is that important? Looking at Jackson Pollock. The Case For Mark Rothko. Rothko, No.

Mark Rothko's No. The Painting Techniques of Mark Rothko. The Painting Techniques of Jackson Pollock. The Case for Jackson Pollock. Jackson Pollock, Autumn Rhythm Number The Painting Techniques of Franz Kline.