Posted by: glue | November 29, 2011

Mystory Expression

Memory

The drips were not original with Pollock.“Max Ernst [the great painter who was a husband for a while of Peggy Guggenheim], thought Pollock had stolen it from him, and, as [William] Rubin has detailed, poured paintings by a host of major and minor atists associated with Surrealism could claim priority….In any event, the plethora of possible sources makes any one of them less critical, and the particular ways Pollock used fluid paint – the orchestrations of quanitities, speeds, rhythms, and densities that constitute everything in his expression – look like nothing second-hand.”

Pollock was known to have urinated on some his works and Varnedoe notes that Steven Naifeh and Gregory White Smith, Pollock biographers, “amassing anecdotal evidence that Pollock was prone to make an issue of urination, argue that the drip method essentially formalized what would be called in vernacular a ‘pissing contest’ with the memory of his father, LeRoy, who had shown his young son how to draw designs in urine on a rock.”

Although reviewers of the biography tend to dismiss this association between Pollock’s childhood memory and his stylistic innovation as an artist, it is entirely  in keeping with the phenomenon of the image of wide scope used by Gerald Holton in his study of the lives of scientists.  John Briggs in Fire in the Crucible (a study  of creativity) collects a multitude of examples from the lives of the most productively creative people, demonstrating a connection between a vivid childhood experience and the imaginative innovation in the person’s career endeavor.  It is always interesting to come across another instance of the phenomenon.

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