Thus spoke kishibe rohan: drip painting

Denis de Gloire — “Dripart 2”  (acrylic on canvas, 2016)

Detail shot of an abstract painting from a personal art journal...

#art #abstractart #abstract #abstractexpressionist #abstractexpressionism #abstractacrylic #acrylicabstract #splatterpainting #splatter #drippainting #contemporaryartist #contemporaryart #contemporarypainting #acrylicpainting #abstractsonfire #flaming_abstracts #artist #karenreiser #paganartist

“Free Form”, Jackson Pollock’s first “drip” painting, 1946.

Artist I Like Series 

Ngwe Phyoe 1989 - ???? a Myanmarese artist who portrays Myanmar’s landscapes through realistic drip paintings.

Sea Change

Jackson Pollock

Oil paint and gravel on canvas

57 7/8 x 44 1/8”

New York 1947

From the Torso series, Salman Khoshroo, 2016, oil on canvas

The first flush of works is characterised by a primitivist poetry of dreamlike forms floating in enchanted landscapes with a levitational allure that recalls the mystical visions of Marc Chagall, whose own fierce folkloric imagination had been forged by the violence of pogroms. But it isn't long before figurative storytelling gives way to a more ambiguously amorphous cadence of expression that strayed beyond Surrealist impulses to pure abstraction. With no inculcated allegiance to any artistic school or prejudice regarding the appropriateness of materials, Sobel began playing both with what a painting can say and how it can say it. Using unconventional implements such as glass eye-droppers to squirt paint and the strong suck of a vacuum to drag wet splatters into thin gossamers that no traditional brush could spin, she assaulted the surface of canvases laid out on the floor, orchestrating a liquid lyricism of spills, splashes and spits the likes of which had never before been seen.

The result was works such as Milky Way, 1945 – a silent symphony of delicate enamel whorls and surging spatters that Sobel created two years before Pollock would fling his first skirl of paint or began producing his own inchoate cosmic sonatas such as Galaxy (1947). Some creative coincidences can be chalked up to the untraceable synergies of zeitgeist – contemporaneous imaginations incidentally synchronised to the same cultural stimuli. This isn't one of them. Pollock was profoundly influenced by Sobel's work, and history has saved the receipts. Almost as quickly as Sobel had begun to experiment with making images, her son Sol set about attracting  attention to her remarkable efforts, reaching out to everyone from Chagall himself to the influential art collector Sidney Janis, who would prove instrumental in establishing the reputations of everyone from Willem de Kooning to Mark Rothko to Pollock.

By 1944, Sobel was well on her way to being a formidable fixture in the New York art scene, debuting that year with a solo show at the Puma Gallery on 57th Street – an exhibition that yielded widespread praise for her works' "astounding sophistication" and "absolutely unrestricted" imagination. Janis (who predicted that Sobel "will probably eventually be known as one of the important surrealist artists in this country"), included her work in a prominent exhibition Abstract and Surrealist Painting in America that toured the country that year.

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Whatever one's estimation of the relative merits of Sobel's and Pollock's work at this moment in the unfolding narrative of modern art, as history would have it, Pollock would prove to be in the far stronger position to advance the technique of drip painting, whether it was his invention or not. Just as Sobel was gaining traction as a creative force in New York – no small feat for a female artist of her or any generation – her circumstances suddenly changed dramatically, and in ways that effectively removed her from the world of art completely. In 1946, the same year that she opened a solo show at Guggenheim's Art of the Century gallery, her husband Max, moved the family from Brooklyn to Plainfield, New Jersey, in order to be nearer to his costume jewellery enterprise. Unable to drive, Sobel quickly found herself cut off from the ebb and flow of the art scene in which she had only just become an important player.

Compounding that geographic disadvantage was the decision taken the following year by her biggest advocate, Peggy Guggenheim, to relocate to Europe, closing behind her the doors of the Art of the Century gallery – Sobel's principal platform. Adding insult to injury, the onset of an allergy to an ingredient in paint forced Sobel to turn instead to media such as crayons that were less conducive to the drip technique, all but forcing her to abandon the innovation entirely. By 1948, Janet Sobel, who would die in obscurity 20 years later, had effectively vanished from the art world. Though not without a trace. Her enduring genius can still be mapped in the innumerable knots and infinite coils of pigment with which Pollock will proceed to intertwine his more famous canvases – endlessly weaving her spirit into the tangled firmament of art history.

“Full Fathom Five” (1947), Jackson Pollock

“The painting has a life of its own. I try to let it come through.”

Artist:

Jackson Pollock (1912-1956) American 🟡⚫️🟤

Janet Sobel (May 31, 1893 – 1968) was a Ukrainian-American Abstract Expressionist painter whose career started mid-life, at age forty-five in 1938. Sobel was the first artist to use the drip painting technique that directly influenced Jackson Pollock.[1] She was credited as exhibiting the first instance of all-over painting seen by Clement Greenberg, a notable art critic.

Early life

Janet Sobel was born as Jennie Olechovsky in 1893 in Ukraine. Her father, Baruch Olechovsky,[2] was killed in a Russian pogrom. Sobel along with her mother, Fannie Kinchuk, a midwife,[3] and siblings moved to Ellis Island in New York City in 1908.[2]At sixteen years of age, she married Max Sobel, with whom she had five children.[3]

She was the mother of five children when she began painting in 1937. She produced both non-objective abstractions and figurative artwork.[4] Upon recognizing Sobel's talent, her son helped her artistic development and shared her work with émigré surrealists, Max Ernst, André Breton, as well as John Dewey and Sidney Janis.[5]

Denis de Gloire — Pinks and Roses  (acrylic on canvas, 2022)

Red and White Splatter on Powder Blue, 8" x 10", abstract acrylic painting on canvas tile, by Karen Reiser

Prints available from Redbubble (@redbubble): https://www.redbubble.com/shop/ap/139372676

#art #abstractart #abstract #abstractexpressionist #abstractexpressionism #abstractacrylic #acrylicabstract #splatterpainting #splatter #drippainting #redbubble #contemporaryartist #contemporaryart #contemporarypainting #acrylicpainting #abstractsonfire #flaming_abstracts #artist #karenreiser #paganartist

“White Light”, 1954, Jackson Pollock.

Jackson Pollock the Female - Mike Parr 

“On the opening night of his retrospective exhibition, wearing a long white gown, Mike Parr had blood extracted from the veins in his right arm while seated before a crowd. He then lay on the floor of the National Gallery of Australia beneath Pollock’s Blue Poles, before collaborating artist Linda Jefferys painted the blood over Parr’s body in the manner of Pollock’s famous drip painting method.

“He then lay still and silent for 20-30 minutes like a screen or a canvas on which we could project our own unconscious images. This was Parr’s new performance piece, Jackson Pollock the Female.”

Been playing with gold leaf. Jeez, so damn fiddly! Looked ok in the end. Distressed gold leaf 😆 distressed artist literally covered in bits of gold! Had to hoover it all up, my study looked like tinker bell had visited!

As per usual, this piece is for sale. Check it out