The First Art Newspaper on the Net   Established in 1996 United States Thursday, December 14, 2017


Jackson Pollock's largest painting makes DC debut at the National Gallery of Art
Jackson Pollock, Mural, 1943. Oil and casein on canvas, overall: 242.89 603.89 cm (95 5/8 237 3/4 in.) University of Iowa Museum of Art, Gift of Peggy Guggenheim, 1959.6.


WASHINGTON, DC.- Stretching nearly 20 feet wide by 8 feet tall, Mural (1943) is the largest work by Jackson Pollock (1912-1956). Beyond its monumental proportions and the many myths that surround its creation, the painting stands as one of the artist's greatest achievements. The iconic work is making its DC debut this fall through a special loan from the University of Iowa Museum of Art to the National Gallery of Art, Washington. On view in the Gallery's East Building from November 19, 2017, through October 28, 2018, the work is accompanied by three paintings from different points in Pollock's career as well as a selection of works on paper.

"As a seminal work of postwar abstraction, Jackson Pollock's Lavender Mist is one of the highlights of the Gallery's collection," said Earl A. Powell III, director, National Gallery of Art, Washington. "We are grateful to the University of Iowa Museum of Art for allowing our visitors to see such a significant precursor as Mural so that they may better understand the revolutionary artist's technical and stylistic evolution."

The History of Mural
In early 1943, Pollock began working as a custodian at the Museum of Non-Objective Painting (the predecessor to the Solomon R. Guggenheim Museum). A few blocks away, Solomon Guggenheim's niece, Peggy, had recently opened Art of This Century, a gallery of contemporary American and European art. In the spring of 1943, Pollock submitted Stenographic Figure to the gallery's Spring Salon for Young Artists. After seeing the work, jurors Piet Mondrian and Marcel Duchamp urged Guggenheim to take note of the promising young painter. Guggenheim offered Pollock a contract with her gallery, including a solo exhibition in November of that year and a commission to execute a site-specific painting for the entry hall of her townhouse. With Guggenheim's support of a monthly stipend, Pollock was able to quit his job as a custodian and focus on painting.

Soon after, Pollock began working on Mural, even tearing down a wall in his downtown apartment to make room for the enormous canvas.The only specifications Guggenheim gave the artist were the painting's size; the subject matter was up to Pollock, as was the technique. As he had not yet moved to working on the floor, Pollock stretched and hung the canvas on the wall. From this point, though, details on the artist's process for the work are sparse. While some people, including Pollock's wife, Lee Krasner, claimed that Pollock painted Mural in one night, in a letter from 1944 Pollock simply said that he painted the work during the summer of 1943 (a fact which is supported by recent technical analysis of the work which shows that certain paints would have taken days to dry before Pollock applied more layers). Once completed, the painting was a breakthrough for Pollock. It represents a major turning point in the painter's career and style, and brought him newfound recognition. Of seeing the work, critic Clement Greenberg later said, "I knew Jackson was the greatest painter this country had produced."

When Guggenheim closed Art of This Century in 1947 and moved to Venice, she was unable to bring all of her collection with her. Mural remained in the States, on loan to Yale University before Guggenheim donated the work along with several others from her collection to the University of Iowa in 1951. Since then, the painting has remained in Iowa and rarely traveled. In 2008, floods severely damaged the Museum of Art, and while the collection was saved the Museum was forced to close. Mural was sent out on loan across Iowa to the Figge Art Museum and the Des Moines Art Center before traveling in 2012 to the Getty Conservation Institute for two years of analysis. At the Getty, Mural was cleaned, a layer of discolored varnish from 1973 was removed, and the canvas was restretched to address sagging. The work's time at the Getty also allowed for extensive study and research by a range of experts led by Getty conservators and scientists and including Jay Krueger, the National Gallery of Art's head of painting conservation, and John Delaney, the National Gallery of Art's senior imaging scientist. Analysis confirmed that the entire painting was not made in one night, as indicated by layers of wet paint on top of dry paint. However, examination of the primary layers of paint showed wet paint applied on wet paint, perhaps indicating that Pollock painted the base of four colors (lemon yellow, dark teal, red, and dark brown) overnight.

Following the study and treatment of Mural, the painting embarked on a five-city international tour with stops including the Peggy Guggenheim Collection in Venice and the Guggenheim Museum in Bilbao. Now, before finally returning to Iowa, Mural makes two stops in the US in addition to the Gallery—the Nelson-Atkins Museum of Art in Kansas City, Missouri (where it was on view from July to October of this year), and the Columbia Museum of Art in Columbia, South Carolina (November 2018 to May 2019). The presentation of Mural at the Gallery will mark the first time the painting has been on view in Washington, and its first time on the East Coast in more than 15 years.

Exhibition Highlights
On view on the Upper Level of the Gallery's East Building, the special installation will include, in addition to Mural, three paintings from different points in Pollock's career: Number 1, 1950 (Lavender Mist) (1950), and Number 7, 1951 (1951), both from the Gallery's collection, and Ritual (1953), on loan from the Robert and Jane Meyerhoff Collection. Lavender Mist was painted in Pollock's studio on Long Island when he had transitioned to his signature technique of pouring, flinging, and dripping paint onto unstretched canvas laid on the floor. Number 7 represents a shift in Pollock's style: rather than dripping, the artist used turkey basters to apply black paint in both abstract and figural forms. Finally, Ritual comes toward the end of the painter's career, when he returned to painting on stretched canvas with a brush, as he had for Mural. An additional 10 works on paper included in the installation (shown in two rotations of five works each) provide a broader perspective on Pollock's career and highlight the Gallery's collection of works on paper by the artist.





Today's News

November 19, 2017

Major retrospective includes vast array of work from Robert Rauschenberg's career

Fashion giant Azzedine Alaia dies at 77

Online exhibit shows hidden depths of Picasso's 'Guernica'

Jackson Pollock's largest painting makes DC debut at the National Gallery of Art

Tintin and Snowy drawing sells for 500,000 euros

Exhibition presents more than 100 privately held works from the 6th to the 19th century

Ketterer Kunst announces December auctions: From Modern to Contemporary art

Nationalmuseum Sweden acquires 18th-century French master drawings

MoMA highlights the transformative history of computers on Postwar artists

AC/DC guitarist Malcolm Young dies aged 64

The Fundació Joan Miró opens "Sumer and the Modern Paradigm"

Detectorist finds rare Richard III coin near the battlefield where he died

Exhibition at The Contemporary Austin includes new and recent outdoor sculptures by Carol Bove

Swiss artist Daniel Robert Hunziker opens exhibition at Von Bartha, Basel

Portrait by Cy Twombly offered at Heritage Auctions' Modern & Contemporary Art Auction

Largest ever Del Kathryn Barton exhibition opens at the National Gallery of Victoria

Cranbrook Art Museum opens exhibitions by artists at the intersection of art and street culture

Exhibition presents an homage to the late French artist Raymond Hains by Jérémy Demester

Museo Nacional Thyssen-Bornemisza opens last exhibition in 25th anniversary series

Yorkshire Sculpture Park opens largest solo exhibition to date by artist, illustrator and printmaker Ed Kluz

Ian Davenport's first solo exhibition in Dubai on view at Custot Gallery

Exhibition spotlights dramatic Japanese prints in innovative installation

Works by Charles Schulz, Granville Fisher, J.C. Cockburn will be auctioned on live TV

Exhibition of Jack Pierson's Angel Youth series on view at Maccarone

Most Popular Last Seven Days



1.- A petition decries 'suggestive' painting at New York's Met

2.- Leonardo Da Vinci sold for $450 million is headed to Louvre Abu Dhabi: Official

3.- Desperately seeking this Frida Kahlo painting. Last seen in Poland

4.- Lubaina Himid becomes oldest winner of United Kingdom's Turner Prize

5.- Two Gustav Klimt masterpieces on loan to the National Gallery of Canada

6.- Frick makes its most significant painting purchase in nearly 30 years

7.- Met Opera suspends Levine after sex abuse allegations

8.- Louvre launches appeal to acquire King François I's Book of Hours

9.- Smart-Guard, a new way to pack, ship and store fine art

10.- Save Venice Inc. restores Titian's Madonna di Ca' Pesaro



Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 

Founder:
Ignacio Villarreal
Editor & Publisher:Jose Villarreal - Consultant: Ignacio Villarreal Jr.
Art Director: Juan José Sepúlveda Ramírez


Royalville Communications, Inc
produces:

ignaciovillarreal.org avemariasound.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful