POLLOCK PAINTS A PICTURE

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Term Paper Title	POLLOCK PAINTS A PICTURE
# of Words	2238
# of Pages (250 words per page double spaced)	8.95

                    POLLOCK PAINTS A PICTURE


     Far out on Long Island, in the tiny village of Springs, with
the ocean as background and in close contact with open,
tree-studded fields where cattle graze peacefully, Jackson
Pollock lives and paints. With the help of his wife, Lee Krasner-
-former Hofmann student and an established painter in her own
right-he has remodeled a house purchased there to
have chosen, and a short distance away is a barn which has been
converted into a studio. It is here that Pollock is engrossed in
the strenuous job of creating his unique world as a painter.
     Before settling on the Island, Pollock worked for ten years
in a Greenwich Village studio. Intermittently he made trips
across the country, riding freight trains or driving a Model A
Ford, developing a keen open sky. "You get a wonderful view
of the country from the top of a freight car," he explains.
Pollock loves the outdoors and has carried with him and into his
painting a sense of the freedom experienced before endless
mountains and plains, and perhaps this is not surprising in an
artist born in Cody, Wyoming (in 1912) and raised in Arizona and
northern California. Included in his background is study with
Thomas Benton--for whom he was one-time a baby-sitter on New
York's Hudson Street-but he has mainly developed by himself, in
contemplation of the lonesome silence of the open, emerging in
the last few years as the most publicized and controversial of
younger abstractionists. He is also one of the most successful.
     To enter Pollock's studio is to enter another world, a place
where the intensity of the artist's mind and feelings are given
full play. It is the unusual quality of this mind, penetrating
nature to the core yet never striving to show its surface, that
has been projected into paintings which captivate many and
agitate others by their strange, often violent, ways of ex-
pression. At one end of the barn the floor is literally covered
with large cans of enamel, aluminum and tube colors-the boards
that do show are covered with paint drippings. Nearby a skull
rests on a chest of drawers. Three or four cans contain stubby
paint brushes of various sizes. About the rest of the studio, on
the floor and walls, are paintings in various stages of
completion, many of enormous proportions. Here Pollock often sits
for hours in deep contemplation of work in progress, his face
forming rigid lines and often settling in a heavy frown. A
P...

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