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101:. Although signed and dated 1943, the signature and date were not added until 1947, and the work was probably completed around the fall of 1943. It was made with oil paint (and an off-white water-based paint) on linen, and is Pollock's largest canvas, measuring 2.43 by 6.04 metres (8 ft 0 in Ă— 19 ft 10 in). The work was commissioned by
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in Los
Angeles for 18 months from 2012 to 2014 to be fully conserved. The varnish was removed, and the stretcher was replaced again, this time with a curved stretcher that respects the sagged shape of the canvas. This conservation work revealed several layers of dried oil paints, without the distinct
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Investigations applied during Mural’s recent stints in the Museum of Modern Art and Getty conservation labs validate O’Connor’s documentary research, further disproving the legend through technical means. The Getty conservators conclude definitively that “rapid work is not the case here, as there are
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house paint to add finishing touches to the upper layer suggests the painting may have been completed in hurry. Almost all of the drips of the thickly-applied paint flow in one direction, indicating that the work was mostly painted in an upright position with a brush. However, thin strands of pink
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suggested that it should be painted on canvas so it could be moved. Guggenheim bought an oversize canvas of
Belgian linen and gave it to Pollock, but otherwise gave him no direction or instructions, and Pollock was simply asked to paint whatever he wished. A wall had to be removed to allow the large
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Francis O'Connor's research found that
Pollock sent a letter in January 1944 telling his brother, Frank, “I painted quite a large painting for Miss Guggenheim during the summer—8 feet x 20 feet. It was grand fun,”. Another letter from Peggy Guggenheim on 12 November 1943 to a friend, in which she
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colours being swirled together, suggest that the work was not in fact completed in one day as had previously been thought, but rather was completed over a period of weeks, and was left to dry for several days between each session. However, the use of a quicker-drying white water-based
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describes: "We had a party for the new genius
Jackson Pollock; who is having a show here now. He painted a 20 foot mural in my house in the entrance. Everyone likes it nearly except Kenneth . Rather bad luck on him as he has to see it every time he goes in and out . . ."
155:, who introduced him to Guggenheim. She was an art collector and dealer, and Pollock signed a contract with her gallery in July 1943 under which he would be paid $ 150 per month as a retainer, to be set against any proceeds from the sale of his artworks.
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After the exhibition of Mural at the J. Paul Getty Museum, the painting was transported to the Sioux City Art Center in Iowa for a nine-month exhibition that concluded in April 2015. From there, the restored painting was exhibited at the
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is a largely abstract work with the suggestion of several human figures walking, or possibly birds, or letters and numbers, in broad swirls of black and white. It combines influences from artists such as
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The mural was intended to be completed before a planned exhibition of his works opening in
November 1943, but according to Lee Krasner, he continued to stare at a blank canvas, saying he was "
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relined the painting in 1973, adding a second canvas with a wax adhesive, and also replacing the stretcher and varnishing the surface to stabilise the paint.
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many areas of dried oil paint evident under subsequent layers.” Scientific analyses of minute samples of paint, they explain, confirm this as well.
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The condition of the work had deteriorated by the 1970s, with the canvas sagging due to a weak stretcher and paint starting to flake off. The
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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."
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was
Pollock's first commission. Guggenheim first considered asking for a mural to be painted on the wall, but
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349:"Conservation as a Connoisseurship Tool: Jackson Pollock's 1943 Mural for Peggy Guggenheim, A Case Study"
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household paint. Most of the paint was applied with a brush, but some appears to have been splashed on.
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The work marks an important transitional moment in
Pollock's artistic career, from his earlier works of
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in Venice in 2015. Its value was estimated in 2016 at around $ 140 million. It was exhibited at the
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It appears that in reality the painting was finished earlier than that and was not done in one day.
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The Myth of
Jackson Pollock, Peggy Guggenheim, and the Masterpiece Created in One Night
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https://thamesandhudson.com/pollock-s-mural-energy-made-visible-9780500239346
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In 1943, Pollock had recently come to the end of a period working for the
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243 cm Ă— 604 cm (96 in Ă— 238 in)
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Jackson
Pollock, the one-man tornado who spattered his way to fame
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technique, in which the medium is laid horizontally on the floor.
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indicate that some paint was applied using Pollock's famous "
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475:, Peggy Guggenheim Collection, April 23 – November 16, 2015
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After Guggenheim moved to Venice in 1947, she arranged with
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for the long entrance hall of her townhouse at 155 East
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Getty Museum, Paint Analysis of Jackson Pollock's Mural
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The painting was investigated by the scientists of the
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Painting (Silver over Black, White, Yellow and Red)
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472:Jackson Pollock's Mural: Energy Made Visible
451:Jackson Pollock's Mural, Energy Made Visible
367:Jackson Pollock’s Mural for Peggy Guggenheim
97:is a 1943 large painting by American artist
382:Jackson Pollock’s Mural: Myth and Substance
264:was recognized immediately. The art critic
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638:Pollock-Krasner House and Study Center
681:Who the #$ &% Is Jackson Pollock?
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665:Jackson Pollock: An American Saga
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281:University of Iowa Museum of Art
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16:1943 painting by Jackson Pollock
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127:. It has been held by the
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591:Autumn Rhythm (Number 30)
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210:David Alfaro Siqueiros
487:Jackson Pollock Mural
457:, Thames & Hudson
583:One: Number 31, 1950
300:J. Paul Getty Museum
202:Albert Pinkham Ryder
369:. pp. 153–155.
365:O’Connor, Francis.
141:Federal Art Project
684:(2006 documentary)
415:Jackson Pollock's
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277:University of Iowa
260:The importance of
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216:Painting technique
198:Thomas Hart Benton
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188:Description
147:(later the
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107:61st Street
721:Categories
607:Blue Poles
551:Number 17A
336:References
135:Background
118:surrealist
69:Dimensions
707:(brother)
535:Paintings
380:Szafran.
256:Reception
238:vermilion
85:Iowa City
620:The Deep
224:and the
206:El Greco
123:towards
77:Location
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647:Related
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352:(PDF)
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