Olá!!!! Hoje vou falar de um pintor expressionista americano da década de 1940: Jackson Pollock. Ele ficou conhecido por seus grandes quadros onde ele fazia grandes pingos e traços de tinta, realizando bonitas composições de grande impacto visual.. Geralmente, ele colocava grandes pedaços de tecido no chão e ia jogando as tintas. Os mais clássicos dirão que é só um monte de tinta jogada na tela, mas é muito interessante os efeitos de cor que seus quadros possuem e como ele trabalha as cores e suas tonalidades. Bom, gostando ou não, ninguém fica indiferente. Quanto à sua vida, há um filme onde Ed Harris o interpretu e foi passada uma imagem de um homem atormentado e alcoólatra, que sofria muito com crises de criação. Vale a pena dar uma olhada nesse filme. Lá, também é mostrado que ele se suicida provocando um acidente de carro quando o dirigia com duas adolescentes dentro. Uma delas acabou morrendo também. Apesar de sua história trágica, ficaram as obras dele, que era um grande artista. Segue agora suas pinturas e, ao final, coloquei um pequeno texto que achei na internet em inglês sobre ele. Me desculpem, mas fiquei com preguiça de traduzir... Espero que gostem...
On the floor I am more at ease, I feel nearer, more a part of the painting, since this way I can walk around in it, work from the four sides and be literally `in' the painting.
-- Jackson Pollock, 1947.
-- Jackson Pollock, 1947.
Pollock, Jackson (1912-56). American painter, the commanding figure of the Abstract Expressionist movement.
He began to study painting in 1929 at the Art Students' League, New York, under the Regionalist painter Thomas Hart Benton. During the 1930s he worked in the manner of the Regionalists, being influenced also by the Mexican muralist painters (Orozco, Rivera, Siqueiros) and by certain aspects of Surrealism. From 1938 to 1942 he worked for the Federal Art Project. By the mid 1940s he was painting in a completely abstract manner, and the `drip and splash' style for which he is best known emerged with some abruptness in 1947. Instead of using the traditional easel he affixed his canvas to the floor or the wall and poured and dripped his paint from a can; instead of using brushes he manipulated it with `sticks, trowels or knives' (to use his own words), sometimes obtaining a heavy impasto by an admixture of `sand, broken glass or other foreign matter'. This manner of Action painting had in common with Surrealist theories of automatism that it was supposed by artists and critics alike to result in a direct expression or revelation of the unconscious moods of the artist.
Pollock's name is also associated with the introduction of the All-over style of painting which avoids any points of emphasis or identifiable parts within the whole canvas and therefore abandons the traditional idea of composition in terms of relations among parts. The design of his painting had no relation to the shape or size of the canvas -- indeed in the finished work the canvas was sometimes docked or trimmed to suit the image. All these characteristics were important for the new American painting which matured in the late 1940s and early 1950s.
