He is not drawing on the canvas so much as in the air above it” (H. Hans Namuth, the photographer who documented Pollock’s working practice, recounted the artist would, “take his stick or brush out of the paint can and then, in a cursive sweep, pass it over the canvas high above it, so that the viscous paint would form trailing patterns which hover over the canvas before they settle upon it, and then fall into it and then leave a trace of their own passage. As the artist’s wife, the painter Lee Krasner recalled, Pollock’s radical new technique of painting was primarily a way of “working in the air ‘gesturally creating’ aerial forms which then landed” (L. Composition with Red Strokes is a testament to Pollock’s abilities that this seemingly automatic application of paint is in fact very deliberate and precise.
These seemingly contradictory elements-bold and brash yet at the same time delicate and refined-collide but never clash. The agitation of Pollock’s constantly moving hand is traced throughout the surface of the work, as lace-like trails of pigment coexist alongside more substantial passages of thick white impasto together in a delicate yet deliberate dance. The fluid lines of chromatic brilliance that dance across the surface of Composition with Red Strokes are a physical manifestation of the artist at the height of his creative authority. Indeed, Composition with Red Strokes stages an unrivalled drama that is remarkable for its intimate proportions and attests to the artist’s supreme ability to create alternate worlds distinct to themselves. Ever the impresario, Pollock orchestrated painterly energy from above his floor-tacked surfaces, drawing in mid-air with paint-laden sticks and hardened brushes in a way that remarkably cohered towards an all-over unity of cosmic proportions. While Pollock’s signature prowess of 1950 had largely been realized in the genesis of some of his largest works, here Pollock resorted to the challenge of an easel format-trading in balletic full-arm gestures for the delicate choreography of the wrist. One: Number 31, 1950, Museum of Modern Art, New York Number 32, 1950, Kunstsammlung Nordrhein-Westfalen Number 27, 1950, Whitney Museum of American Art, New York. Conceived during the apex of the artist’s career, 1950 witnessed the genesis of some of the most defining paintings of Jackson Pollock’s oeuvre.Īlong with Composition with Red Strokes, the iconic works of this period include such masterpieces as: A utumn Rhythm (Number 30), Metropolitan Museum of Art, New York Number One, 1950 (Lavender Mist), National Gallery of Art, Washington, D.C. What are the disadvantages of an electric toothbrush?Īns: Electric toothbrushes have some cons like they require energy or batteries, are more expensive and maintenance on a regular basis.ĭon’t miss out on ET Prime stories! Get your daily dose of business updates on WhatsApp.Composed of a myriad of interlaced swirls and streaks of vibrant color that weaves a constantly moving, almost evolving, complex pattern of painterly form and energy, Composition with Red Strokes is a seemingly complete world unto itself-a self-contained cosmos of painterly rhythm. Brushing excessively over time can permanently destroy tooth enamel and result in irreversible receding gums. Can electric toothbrushes damage gums?Īns: An electric toothbrush should not damage your gums or tooth enamel when used properly rather, it should improve your oral health as a whole. Apply light pressure and hold the brush at a 45-degree angle on each tooth for 3 to 5 seconds.
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