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[[File:Jackson Pollock 2.jpg|right|200px]]
[[File:Jackson Pollock 2.jpg|right|200px]]
[[File:Jackson Pollock, One Number 31, 1950.jpg|thumb|300px|One: Number 31, 1950.]]
[[File:Jackson Pollock, One Number 31, 1950.jpg|thumb|300px|One: Number 31, 1950.]]
[[File:Jackson Pollock, The Deep, 1953.jpg|thumb|The Deep, 1953.]]
'''Jackson Pollock''' (1912-1956) was an American [[painter]]. 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 ([[Jose Clemente Orozco]], [[Diego Rivera]], [[David Alfaro Siqueiros]]) and by certain aspects of [[Surrealism]]. From 1938 to 1942 he worked for the Federal Art Project. [http://artistquoteoftheday.wordpress.com/]
'''Jackson Pollock''' (1912-1956) was an American [[painter]]. 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 ([[Jose Clemente Orozco]], [[Diego Rivera]], [[David Alfaro Siqueiros]]) and by certain aspects of [[Surrealism]]. From 1938 to 1942 he worked for the Federal Art Project. [http://artistquoteoftheday.wordpress.com/]
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He was among the most prominent of the [[New York School]], more commonly referred to as the [[Abstract Expressionism|Abstract Expressionist]]s. His major innovation was to paint unstretched [[canvas]] rolled out on the floor, working from all sides of the picture plane, pouring and throwing paint to create a line that re-encompasses itself over and over again without generating a positive and negative form. His work marked a watershed in American art history.
He was among the most prominent of the New York School, more commonly referred to as the [[Abstract Expressionism|Abstract Expressionist]]s. His major innovation was to paint unstretched [[canvas]] rolled out on the floor, working from all sides of the picture plane, pouring and throwing paint to create a line that re-encompasses itself over and over again without generating a positive and negative form. His work marked a watershed in American art history.
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