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Figures in a Landscape

Navn Klasse Dato

Jackson Pollock, Figures in a Landscape (1937). Fritatt for opphavsrett. Se dette lerretet i bevegelig lys: tegningen, den sanne fargen under fernissen, det rene pigmentet

Fakta om verket

Kunstner
Jackson Pollock originaluniqueart.com/no/artists/jackson-pollock_no/
Kunstnerens levetid
1912 – 1956
Malt
1937
Medium
Lithography Drawn in grease on stone and printed on the principle that grease and water refuse to mix.
Opprinnelig størrelse
26 x 37 cm
Bevegelse
Abstract Expressionism Large canvases where the act of painting itself — the drip, the sweep — is the subject.
Periode
Modern
Artistic style
Surrealist Influences
Influences
Regionalism
Notable elements or techniques
Gestural lines; Dense shapes; Lithographic print.
Subject or theme
Landscape; Psychological exploration

I sammenheng med

Figures in a Landscape — Jackson Pollock

Hvor stort er det?

Originalen måler 26 × 37 cm (høyde × bredde), vist her ved siden av en voksen person med gjennomsnittlig høyde.

Når ble dette malt?

  1. 1910
  2. 1920
  3. 1930
  4. 1940
  5. 1950

Rad over: årene. Rad under: kunstnerens alder ved starten og slutten av hvert tidsrom — 0 ved fødsel, 44 ved død.

Malt da kunstneren var 25. Kunstneren ble 44 år gammel. 1 av de 50 daterte verkene av denne kunstneren i vår katalog ble laget tidligere.

Skyggelagt: livsløpet til Jackson Pollock (1912–1956) ▲ dette verket, 1937 hvert daterte maleri, tiår for tiår

Tidlige verk: frem til 1941 Hovedvirksomhetsår: 1941–1948 Senere verk: fra 1948

Disse tre periodene deler verkene i denne katalogen inn i et første kvartal, en midtre halvdel og et siste kvartal. De utgjør ikke kunstnerens komplette produksjon: en tynn periode kan skyldes hull i dokumentasjonen snarere enn en rolig periode. De samme årene som utgjør kunstnerens liv er vevd inn i dem

Sammenlign med

Velg ett av verkene ovenfor: nevn to ting det har til felles med dette, og én ting som er annerledes.

Flere verk som kan stå ved siden av dette: originaluniqueart.com/no/art/similar/paul-jackson-pollock-figures-in-a-landscape-8XYAGL-en/

Farger

Målt ut fra bilde

    Dominerende farge

    Espresso #515151

    Katalogisert palett

    • #515151
    • #CBC9BB
    • #282828
    • #868683

    Disse fargene i kunstnerens komplette palett Finn andre malerier etter farge

    Hovedfarge
    Espresso
    Intensitet
    Monochromatic Hvor mettede og varierte fargene er, fra en enkelt dempet nyanse til mange klare toner.
    Kontrast
    Statement Hvor mye fargene varierer i lyshet og metning over hele bildet.
    Harmoni
    Unified Palette Hvor godt fargene fungerer sammen, fra kontrastfylt til fullstendig harmonisk.
    Lysstyrke
    Balanced Hvor lyst eller mørkt bildet fremstår totalt sett, fra dype skygger til lyse høylys.
    Metning
    Muted Hvor rene og sterke fargene er, fra nesten grått til helt livlige.

    Hvor i verden kan dette maleriet sees?

    • lavere enn 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% og mer
    Dette maleriet alene har for få registrerte besøkende til å kunne kartlegges, så oversikten viser alle verk av Jackson Pollock i løpet av de siste tolv månedene — totalt 71 land. Kilde for disse tallene

    De ti ledende landene

    1. 1 China 17.5%13300 besøk
    2. 2 France 8.3%6300 besøk
    3. 3 United States of America 8.0%6100 besøk
    4. 4 Germany 7.0%5300 besøk
    5. 5 Spain 6.0%4600 besøk
    6. 6 Japan 5.7%4300 besøk
    7. 7 Italy 5.5%4200 besøk
    8. 8 Brazil 3.2%2400 besøk
    9. 9 Singapore 2.5%1900 besøk
    10. 10 Mexico 2.4%1800 besøk
    11. · 61 andre land 33.9%25900 besøk

    Finn de tre mørkeste landene på kartet. Ligger museet som huser dette maleriet i noen av dem? Skriv ned én grunn til at folk langt unna kan ønske å se det.

    De 20 mest viste verkene av Jackson Pollock

    1. 1 Nummer 1, 1949, 1950 35.2%46800 besøk
    2. 2 Høstrytme. Nummer 30, 1950 6.7%8900 besøk
    3. 3 One. Number 31, 1950 5.3%7100 besøk
    4. 4 Konvergens 5.1%6800 besøk
    5. 5 Number 5, 1948 3.1%4100 besøk
    6. 6 Number 5, 1948 2.5%3300 besøk
    7. 7 Tall nummer 1A 2.3%3000 besøk
    8. 8 Hvit Lys, 1954 2.1%2800 besøk
    9. 9 Number 10, 1949 1.6%2100 besøk
    10. 10 Number 3, 1948 1.5%2000 besøk
    11. 11 Number 8 1.4%1800 besøk
    12. 12 Number 6, 1949 1.2%1600 besøk
    13. 13 Number 3, 1949 1.2%1600 besøk
    14. 14 Number 1, 1948 1.1%1500 besøk
    15. 15 The She Wolf, 1943 1.0%1300 besøk
    16. 16 Full Fathom Five 1.0%1300 besøk
    17. 17 Number 2, 1951 0.8%1100 besøk
    18. 18 Cathedral 0.8%1100 besøk
    19. 19 Saint 0.8%1000 besøk
    20. — Figures in a Landscape, 1937 dette maleriet 0.0%0 besøk

    Sammen utgjør disse verkene 74.7% av all oppmerksomheten som denne kunstnerens malerier har mottatt i løpet av de siste tolv månedene. Katalogen inneholder 176 verk av denne kunstneren, hvorav 128 ble sett på minst én gang. Dette maleriet har ennå ikke blitt vist i denne perioden – det avslutter listen uten en rangering. Det samme gjelder, måned for måned

    Søylene måler oppmerksomhet, ikke kvalitet. Velg verket øverst og dette: nevn én ting som kan gjøre et maleri berømt, utover hvor godt det er malt.

    Om dette kunstverket

    Figures in a Landscape — Jackson Pollock

    A Psychological Tapestry: Unveiling Pollock’s Early Vision

    To encounter Jackson Pollock’s "Figures in a Landscape" is to step into a realm where the boundaries between reality and the subconscious begin to dissolve. Created in 1937, long before the world became acquainted with his frenetic drip technique, this lithograph reveals a master in the making, grappling with the profound tensions of the human condition. The artwork presents a complex, layered composition where human forms are dispersed across an abstract terrain, not as stable inhabitants, but as spectral presences caught in a web of dense, gestural lines. There is an undeniable sense of dreamlike ambiguity here; the figures appear at varying scales and distances, defying traditional perspective to create a landscape that feels less like a physical place and more like a psychological state.

    The visual language of this piece is defined by its rhythmic chaos. A delicate dance of lines—ranging from assertive, heavy strokes to fine, feathery tracery—creates a palpable sense of movement and texture. This interplay of light and shadow, rendered in a stark and dramatic monochrome palette, lends the work an atmosphere of profound unease. The lithographic process itself adds a subtle, grainy quality to the surface, mirroring the artist's intention to convey a world that is both tactile and ephemeral. For the discerning collector or interior designer, this piece offers a sophisticated focal point, bringing a sense of intellectual depth and avant-garde elegance to any curated space.

    The Intersection of Surrealism and Abstract Expressionism

    Historically, "Figures in a Landscape" serves as a vital bridge between the established Surrealist movements of the early 20th century and the burgeoning energy of American Abstract Expressionism. Influenced by the psychological depth of artists like Joan Miró and the surrealist explorations of André Breton, Pollock utilizes organic and distorted shapes to evoke themes of isolation and disorientation. The way the figures interlock with abstract elements resembling rocks or trees suggests a primal connection between humanity and the earth—a theme likely rooted in Pollock’s early exposure to the vast, spiritual landscapes of the American West and Native American art.

    Beyond its historical significance, the emotional resonance of the work lies in its ability to provoke contemplation. The lack of a central focal point forces the viewer's eye to wander, mirroring the feeling of being lost within one's own anxieties or dreams. It is an exploration of vulnerability and disorientation, captured through a masterful control of materiality. Whether viewed as a window into the artist's formative psyche or as a striking piece of modern decor, this reproduction captures the raw, unbridled energy that would eventually redefine the course of art history. It remains an essential acquisition for those who appreciate art that does not merely decorate a room, but actively engages the soul.

    Kunstner og museum

    Kunstner

    Jackson Pollock

    Født i Cody, USA

    Early Life and the Seeds of Innovation

    Paul Jackson Pollock, born in Cody, Wyoming, in 1912, was a restless spirit from the outset. His early life was marked by frequent relocation as his father, LeRoy Pollock, pursued work as a land surveyor across the vast landscapes of the American West. This itinerant existence instilled in young Pollock a deep connection to the natural world and an exposure to diverse cultures, particularly through encounters with Native American art during those surveying trips – impressions that would subtly permeate his artistic vision later in life. Though he never explicitly imitated Indigenous styles, the raw energy and spiritual resonance of these early experiences undoubtedly left their mark. He was the youngest of five children, born into a family struggling financially but filled with a strong work ethic and a love for art. His mother, Stella May McClure Pollock, recognized his artistic potential and fostered it through encouragement and support.

    Pollock’s formal artistic training began at the Manual Arts High School in Los Angeles, followed by studies at the Art Students League of New York under the tutelage of Thomas Hart Benton. Benton, a prominent figure in the Regionalist movement, emphasized rhythmic composition and narrative themes rooted in American life. While Pollock initially absorbed these lessons, his inherent inclination leaned toward more abstract explorations. He was also profoundly impacted by Mexican muralists like José Clemente Orozco, whose powerful depictions of social struggle resonated deeply with him. These early influences—the rugged beauty of the West, the traditions of Native American art, and the dramatic narratives of Benton and the murals of Mexico – laid a foundation, but it was the burgeoning world of Surrealism that truly unlocked Pollock’s artistic potential.

    The Birth of Action Painting and a Revolutionary Technique

    The 1930s saw Pollock experimenting with various techniques, seeking alternatives to traditional brushwork. He began pouring paint, exploring its fluidity and unpredictable nature. However, it was around 1947 that his artistic trajectory underwent a radical transformation. Abandoning the easel altogether, Pollock laid canvases directly on the floor, initiating what would become known as his “drip technique.” He then proceeded to drip, splash, and fling paint onto the canvas from above, orchestrating a dynamic dance between artist, medium, and surface.

    This wasn’t merely about applying paint; it was about embodying the act of creation itself. Pollock's canvases became arenas for physical expression, capturing the immediacy of his gestures and emotions. The resulting paintings are characterized by their “all-over” composition – a lack of central focus that invites the viewer to explore the entire surface as a unified field of energy. Intricate networks of lines and colors intertwine, creating a visual complexity that is both captivating and challenging. He employed unconventional tools—sticks, knives, even syringes—to manipulate the paint in unpredictable ways, further emphasizing the spontaneous nature of his process. The technique was revolutionary, rejecting traditional notions of brushstrokes and composition.

    He used a variety of materials: oil paints, house paints, inks, and even tar.

    His movements were often described as dance-like or ecstatic.

    Iconic Works and Lasting Legacy

    Pollock’s most celebrated works—such as Number 1, 1950 (Lavender Mist), One: Number 31, 1950, Blue Poles: Number 11, 1952, and Convergence—are testaments to his revolutionary technique. These paintings are not simply images; they are records of a performance, imbued with the artist’s physical presence and emotional intensity. The dynamic energy that emanates from these canvases is palpable, drawing viewers into a world of pure abstraction. Critics initially struggled to understand or appreciate this new approach, but over time, Pollock's work gained recognition as a groundbreaking contribution to modern art.

    His style transcends mere aesthetics; it’s an exploration of process over product. Pollock sought to capture the immediacy of his actions and emotions on canvas, rejecting traditional notions of composition and representation. He delved into Jungian psychology, exploring archetypes and the subconscious in his art, seeking to tap into universal symbols and primal energies. The paintings are often interpreted as reflections of the artist’s inner turmoil and spiritual quest.

    Influence and Historical Significance

    Pollock's impact on the history of art is immeasurable. He fundamentally altered the way artists approached painting, breaking free from easel-based methods and embracing a more performative approach. His work helped solidify New York City's position as a global center for modern art, shifting the focus away from European dominance. He was a key figure in the rise of Abstract Expressionism, alongside artists like Mark Rothko and Willem de Kooning. His influence can be seen in the work of countless artists who followed, including those associated with Color Field painting and later forms of abstract expressionism.

    Despite facing initial criticism and skepticism, Pollock’s legacy has solidified over time. He is now considered one of the most important and influential artists of the 20th century, a visionary who dared to challenge conventions and redefine the boundaries of artistic expression. His innovative techniques and expressive style continue to inspire and provoke, ensuring his enduring presence in the art world for generations to come.

    Further Exploration

    Key Resources:

    Jackson Pollock - Wikipedia:

    Smithsonian American Art Museum:

    National Gallery of Art:

    Les mer her

    Se mer på nett

    QR-kode som lenker til nedlastingssiden for Figures in a Landscape

    originaluniqueart.com/no/art/download/paul-jackson-pollock-figures-in-a-landscape-8XYAGL-en/

    Kildehenvisning for dette kunstverket

    MLA
    Pollock, Jackson. Figures in a Landscape. 1937, https://originaluniqueart.com/no/art/paul-jackson-pollock-figures-in-a-landscape-8XYAGL-en/
    APA
    Pollock, Jackson (1937). Figures in a Landscape [Painting]. https://originaluniqueart.com/no/art/paul-jackson-pollock-figures-in-a-landscape-8XYAGL-en/
    Chicago
    Jackson Pollock. Figures in a Landscape. 1937. https://originaluniqueart.com/no/art/paul-jackson-pollock-figures-in-a-landscape-8XYAGL-en/
    Harvard
    Pollock, Jackson (1937) Figures in a Landscape. Available at: https://originaluniqueart.com/no/art/paul-jackson-pollock-figures-in-a-landscape-8XYAGL-en/

    Se nærmere på

    Figures in a Landscape — Jackson Pollock

    Se nærmere etter

    Svar med egne ord. Det finnes ingen feil svar her – bare svar du kan forklare.

    1. Hva fanger blikket ditt først, og hvorfor?
    2. Hvilke farger eller former skaper stemningen – og hva er den stemningen?
    3. Hvor mange ansikter kan du finne? ____ (vår katalog teller 9 — er du enig?)
    4. Vår katalog klassifiserer dette verket under: landscape, figures, abstraction. Er du enig? Hva ville du lagt til, eller fjernet?
    5. Se tilbake på Nummer 1, 1949 (1950), tidligere i denne guiden. Nevn to ting det har til felles med dette verket, og én ting som er annerledes.

    Ditt svar

    Skriv et kort avsnitt om dette kunstverket. Bruk informasjonen fra de tidligere delene av denne guiden og svarene dine ovenfor.

    Spørsmål og svar

    Hvor plasserer "Figures in a Landscape" seg blant Jackson Pollock sine gjentakende motiver?

    Blant Jackson Pollock sine dokumenterte temaer – surrealist echoes, psychological depth, western landscape vision, gestural style, bold strokes, pollock’s pioneering approach, early exploration, artistic roots – retter "Figures in a Landscape" sitt eget fokus mot landscape, figures, abstraction, gestural, psychology, monochrome, dynamic.

    Hvilken størrelse anbefales for "Figures in a Landscape" i et Living Room?

    Anbefalt trykkstørrelse for "Figures in a Landscape" av Jackson Pollock i et Living Room er Small.

    Er "Figures in a Landscape" av Jackson Pollock et portrett, landskap eller en kvadratisk komposisjon?

    Formatet på "Figures in a Landscape" er Landscape. Dette er nyttig når du planlegger hvor en reproduksjon skal plasseres.