Wijnberg, L. & K.J. van den Berg- Reflection of the Big Dipper Pollock

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DM alag uap uen ue[ seeN 'Elaqui!AA Ds!noi Jadd.10!atv Jo uo.i_wijaH Aichimia di Jackson Pollock. Viaggio all'interno della materia 1. Jackson Pollock, Reflection of the Big Dipper, 1947, Amsterdam, Stedelijk Museum In 1950 we find the Pollock paintings back in Venice, cial occasions's. In 1998-1999 The Big Dipper was ex- The Big Dipper named Riflessi dell'orsa maggiore, at a show hibited at the Retrospective Jackson Pollock, at The in the Sala Napoleonica at the Museo Correr, where the Museum of Modern Art (MoMA) in New York. museum had gathered twenty-three of his paintings, and On the occasion of an exhibition in Florence, all the twenty all as loan from Peggy's private collection, except pigments used in The Water Bull (from the Accabonac the two Stedelijk works that she had donate just before's. Since then, the two Pollock paintings have been regularly on view in Amsterdam and on loan for spe158 Creek series, 1946 ca., Stedelijk Museum, Amsterdam) (1945) were analysed (see Appendix)". V) ! ,_, a .-- 2 --) ,7-1 D -.0 CD -c - 3-!o ---1!n 0-- ,-, r-I- _s:).)s ,--s !0 r-F ! 0„ 0 0-!r) 0 cr, cr -h! -fr! 0) 3!o 7, m_ -h 0-. ;_-,.: ci, -h 0- ai 0- M-! C a 0 0 -h 0-!0 0! Z.- -.7., 0- rD LC 0 = LC2! Li, r--, a) 0! a)! a v)a)cDa( • -% a) V,_ . . . ,7:! (i, = r-F = 7) M-! O 0IV •' -7! • s 2! SD) 0-!r-f-! n ! _ r-h rh r-t,-, ! rD!n -C, .--1- 0- r=h ,,!0-- LT, • a) -)! a LE:3 . ) !a 17 !0 7•D ' rD a ! " -0 v) V -h -C) r-h ! -0 rD F) z-- Q) --I -- Cs_!rD!rD! ,--4! -6. 70. rD a r-F II)!rD rD < Z ,--tn•-• ! 0 0 7;t-. -0 .f) 0.)! -, c = a) C! -- -0 a) -, a! N a co a) -Cs!rD Cr 0 = . v, ra)!,,.>, =0 :- ,7 -h a a °= c)-) 5' ri o_ 9 vo c z.,!= !,,,, .,• ._.,) 0 a - Li r n -< 0!0 !T --= ..., !a) ,..,. 7 vo 0-! a cp_!PD 03 a) 0 ___, ,-r. c .---0:s! . 0-! r_i_ a a -) --.) 0 -0 R ._-.,-• E s) s -. -E. 0 ! rD vo !a c 0 0 '' 0 r-, r) !VI r-F ! ! N ,.Q rF r-h Q.) 1-1-!-, - -.< -s!= C1) 0! = !co V, r--$! 0(4 ) r) ---r+ R 7,3 L0 - -! (A (1) 0-a , CD !sz:L! = a) = In r-F 5' LE! vs -.. !0 0_ , r-F -0 <O ...,! a) CL rD 0 csi!r-h CO -- •!. 2! -, =0!r-h a °!..--.. • !L7, (0 ! F) a! ' r-F ! .. !CO ! 0 00m v) -0!,--s. e-F !. !a a)! a) ! a ! ! 0 SI)! = CL rp- -- e-h a v)!vs -0 . 0!-0 t-C-D a r-F ! = 0- r-D -0! C h {•4 . "D! ! I-I- ,-,! -.. rD 0- a Q.) = 00_ rD Ui 0.) u..2 . -= • ro -- L.0 C) 0 ("D ---1 F.) !,,0 0- rD <!0- _s, vo. = 0-- ,-, C! r-1) r° -C' s=! • F) L') I-Iuro .! 0-!a) --' ! rD -0 rD CL 0 rD a) 0 rD = 70 0 0 -! r-h (-) a 0 -h Ln !-, r-h ! L.0 = LC ! a = a C -! 0 no no rF ! e-h • -0 - . -h! _..2 a vs c! to a) 0 • 'r-F .. --‹ (.0 ED!a v, rb ! C2_ 0-!--h (7) . 0- V , = ! a)! = c! ! 7, a -0 a!a) co R! 0- r-h! r-F 0- ...--- ! 4, n - • <!= o! -<! a)!rD r-h! SD r-h!, a!a Co 00 Ln - LsD 1) 0... a!> ,-,J! r-F ! !• 0_ ....!0- -% a r-).!0 rD!.,. ..,,!_ . .!0) 0-! r-h rD ! ,-s- 00 - s rr) a!0 -! 0 n ° 5 - 0- eL vo . ---0-!r-1-! a co coLC) = 0 vs 0- Ln! ,..4_ 0 •LC2 • - rD rD C eL!Ln V) = (0 a) -_, Qj rD a) ! 00 -h rD . -. .170 ! CO!-zz -% o 0 0!R. IZD rD -h no = a) a) r-h! L...! a 0 > _! !0 LC 0. co = 0 a a Ln -- •!-0 rD c a 0_ 0 -h CO a -,-!= 0!-17 rD .-s- a_ vs LO s-s0-- = a) Cr --, r-F 0_ . vs CL < Cs_ = -c -3 . r-h rD 0 a n -o! F, a). ! -, = 0-!-• .!. r-Fa) a!a) a) • • 0-! (.7-s a o a!,-, = 0- 0- 7-ij -0 --, -‘ r) < a) tr) °,-, 0.. = o ! 5 !a) != a a-. , .1 r-F _._ 0 ! r-iC !.72. (7).r-F ("D r-F ! a! , 7, Lc -!(0 a in! <! a ri s a r-F M- Cl.) o., 3!0- -! = !0 14 a)! a)! cf,!-h a (7, • I -I- . a r-F r-F 0 o a 0 = . .! a 3 a rD!-0 0 a st 4!5' C 0 70 = E. :-.' 0- 3 5 I co rD ,-,- ra) -h r) 0 ,--, --h 0 rD = r-F I-I0 rD 0 r-h 0 0O ,_,. 0to r-h!r-h 0 - • s-s• v) a) a) rD CU = G) V) 0 7 , _Cs ,, rD rD ,-sQ a) in a) -, . 0- a.) a i !, rD a a r-D :)- :. v r = -D1 s 3 0.) r-F ,-, ,!rD ,=rc " , 5 (i, a) vs n• cs a) v, = • r) a = vs _, ! 0!- 0- ( , o r) rl.) co CL!PD.. 3 0_ a 0.) a 0 --<!a). tsn a) e-1- a a LC2 a) .,'! !-,! co U) ! • I!= t-1- 0 = ,-, 0.)!LO rh <! -h = -0 ! 0- -h • 0 = ---i! = . rho 0 0 < . a!,=,'! u)!Ln = 0!. Cs_ a = !, !0_ a (A ,-.• r-l• a P,! 0 0 -h LE (.7-)o --, o 70 _ r-i-! -!-< ! !! -0!.-.-L.I 1-1-! La! CZ, on)!SI) 7-s a) -, rrt -h m-! =! n o_! ).!3 a , = m- v) ,-,Cs-r. cr C rh a a) < a) a M 5. arD =aco.) r-h o- a!a) .. 0-! a)! 00! 71!vo 0- -, Q 0 a !a ! ! 7, Cr; rD a -h r-h -0 ! rD > -_. rh LT! h r--1-!SI) L•0 7, --! 0,!0 a '-i0-!o_ 5 = !o_! !0 0-! rD Lis -0!0-! Q-! a!,6* 3 a --i!0 a, 0!0 - rD!...7 t n ,0r. a!-<. n 0 70 - -, rD 0! = rD t !_a a).!-. 0 r-F !a! no 1-1- a -h CD!= T., !7-- (.()!el) -s no 0 0 c os-!.,- I-1- r- h. -s! vs 3 ! c 5 0) ! ! in Z- a! r-F -s r-D --";! 0 -0 rD = ! 0!co ,--,.. ---(3! ,)!La LC LC r-h _.,!c Q n! a) -7). . --- 0 co 0 -, 70 -, r-h R a). Co_ !,! 0- < R!rD 0!• • 3 ,. ::..,-!0,2, co = ° c t rF Ln rD!r-+ 5 u) rD a 0 rD! . = a 0! = 0- r) -.!r-h a 3 n in! s Cs5' i.7) ,--, sm._ S-r (I) I = = ,=r. a Lro v) ,-, -, LO!0 in! a a 1 ,-,. L., o_!-< rD c -.‘ a) 0- -! ..., 0!no 0! ) rD t__. s -h X a Co ET !-O = PD CO . ...!v) PD r--t• O !x • '. 9) ___, ,--, ,-,!a) ,•-,viD cf,!r' vo!= co!C 3 " 10 Co 0 -C3 0 I-1-! 0!0 -I-I -h!> = V!V)! V, -Z:3 = (-0! -< r-h = V/! CD ,-, -R W ! (78!0- 0 7C-! 3 = (.7)•r-1c a!CL I-I-! -0 = 0 rD -% _, 0 v, C •-<!vs 0- 0 = 0- n-r!cs_ a 0- rD!-c = 0_ 0 , 0 ,-s- i7) -Ui 0 co 0 ci) 0 Cs!C!ac)! a r-, 0- r-F SD r-h !r.,- r-i0- 3 LE ro = V) V1 = ! rD ! li) a) 711 rD R ,--)(7).. a) vo r-D! 0 !‘-, a!a) ;-.•!Cs-!--h!CU -7 -0 _ -! r-- co 0_ a 3 0 a) a a C E -h 0 1.7 a 0_ i I = C._ r-1-!_.- V) I r+r+ co = La,!o <!m- --i Lf, --<! ca.. _CD n. -0 !4, .!0! 0 In Z-0 LO r1- .....J a vo!rD 0-!1 =, • = x! a 5 5. a v) 0! ,,-,! ! -0 rD ,--) -Cs. a!ro 0 (e)! 0 rT) -,,--,s•--i. a!0 m- 7=5! a!rh 0- = R `.‹ k a co !0 ,--s-!a) C ' V ri-! V) D ! , R ,-,!a co a! C7' 2. Labels: B. Parsons Gallery(©SMA) r-D ••••< O --h r-F rD 0) r-F a a a (-0 o- a Ui C -0 C -n O 0 - epA DA Ban -h 1h• r-h r-F M - 11) (-•••,!;L-r. 2 0! = !---1 ! a 3! a CD r-D! --h! a = 0! r-h 73 != 0 -I r-h 00 0_ C! -0 n)!a a) !IA!= 0 (-D 5! Cr.!F---s,-, -n v) ! 0!E .:-; ) Co r-D a)! 0 0 a,--,--.< Ff, 0 CL L -, * !CO ! = 0,! a!4, c2.) CL 70 ET r-,! o _1 = ..., 0!M rD CL a)! -h CD CL -!r-h!V) X 0 -D V) rD 0.) . . a V -0 -c -h!-, -1- 0 - m-- -a h! (C ,=,' = - -L Z7 = 0)= a (S R )2 a vo a) r) 4,!(0 0 _, a = -0 r-F ,-..) u ) = -h r-h -. C.) ! C,..) rF r-h ! r- co in r-F 3 a a!0- = i a l7. rD = rD = a a R a 0._ i 5. cj r-F CI) CS a) . 1 /1!-0 r+ !< C3' vs -%. rD 0 = = 0- --, )! :-, !• (.7) 7., • a a CL -I 0- rD Cr..! c* ^ CO. OD!1/) 0 a o- 5 0 o -0!---!rD 0 -h rD!<.. a) -' !rD !3 to -, ,-, v) z =:2 • -* 5 -c c):' = r° ,.Q tx:'- __ tic 0 3! r-h SI) '.< 0!r.• C Ei.3!r-F 6 r-h < CL. °!= !-0 = rD -h rD <!< -I 0 F) (.0 m- ro -sc r-l0-- ---, r) !r-D ri)! Q 0 a _, Mm- _.._ -‘ x!rD n 0 rD a -‘.!= !. t..) -,!- •!a) L7o!rD 5 5. -0 5_ 0.) =-- a r-F. a O.) -_-,!z -D. 0 V 0 LO a r-F rh < a D.! 6 < ,--, a 0- a a) ! = -< o!! .. 7 Li,!CL = !3 r) > -h = rD rD =0 ! a cl.).! , S 7Svs F). a a)! o ETT cr 0-- -s 3 n:).- cr 70 -1!r-h 7:3 cf, a.) 0 0 = CO!m•-!= 0.) vo!co.) CL r) Ln a) FCf.12) 'r-F 0 a 0 ,, a r-F!W! . 3 0! a .75 ‹. -,. a rh!•-•• ,-, a) co L° s-sPD r) a) = rh! I -h (.0 8 0 ! = S. S.! 3 a -0 in in a) = _). = KlaasJanvandenBerg, Reflectionofthe Big Dipper Louise Wijnb erg, Aichimia di Jackson Pollock. Viaggio all'interno della materia es)31. It suggests that the artistic materials were used in a very economical way. The tension of the fabric is correct but has been re-stretched on its original frame". The left border, seen from the back, is the only one that is grounded and shows a clear cut. It just goes around the corner to the backside. Pollock executed many other paintings, like Phosphorescence and Full Fathom Five (1947, Museum of Modern Art, New York) with the same height - or width". It might be possible that these canvases were cut out of the same primed canvas roll". As in Alchemy, the cusping of the fabric shows that the artist mounted the linen on the stretcher himself. The ground is clearly of a commercial quality. The analytical results show that the paint samples all differ in composition from the ground". The ground was analysed and found to be a mixture of lead and zinc white and barium sulphate also known as lithopone. The binding 3. Pollock leaning over Alchemy in his studio, The Springs, Long Island, 1947. Photograph by Herbert Matter medium is a pure drying oil36. As was already stated, Pollock changed his working method during that important year, 1947. «My painting does not come from the easel...»". The important question is: did Pollock paint this work without the stretcher frame Painting technique' directly on the floor like Alchemy and the paintings that The stretcher The stretcher frame is made out of pinewood of poor quality, with no wedges to adjust the tension of the canvas. The corners have a lap joint. The size of the stretcher is: would follow? The tacking margins do give us information on the position of the canvas during the process of painting: the presence of some drops and dried running paint demonstrates that Pollock worked the canvas when it was 110,5x91,4x2 cm. The bars are of the same size: 4,3x2 cm. The frame has cross bars. Did Pollock make his own stretchers?" On the upper bar at the backside of the stretcher is written, with thick black paint and applied by brush: «TOP [- a black inscription over painted in black -] Pollock 47»27. The same type of inscription can be found in the same position on the backside of other of his paintings. On the middle crossbar is written, with black pencil: «36x43 1/2 [inches]»28. Canvas and ground The Big Dipper was painted on an industrial, very fine linen fabric with an open weave". This has been mounted on the frame with nails placed on the tacking margins with quite regular intervals". The borders differ. The right border, seen from the back, is much larger than the others. It must have been the end of the canvas roll (fig. 4). Two pushpins at the back keep the large linen overlap in place. The top and the bottom borders of the canvas are selvages, which could hardly be fixed at the tacking margins of 2 cm by lack of enough fabric. This means that the width of the fabric has been used for the full height of the painting and both borders. The width of the original linen - the weft - must have been around 113,5 cm (about 45 inch160 4. Detail backside upper right corner (©SMA) L9 sADollod spunoJ640 apuniodw! aL 4 supdAapun s!qi ALUCDAD ADAHS e 1„em4ewpdw!„ laio!A paJ age AD14V -SD,Id AD5UOIOU DAC Aaql auqm saw!4 LA! lu!od s!ql!>pm Salem qp!qm IluasaAd s! JaAel lu!ed wn!u!Lunie Asso16 pue •daddhu!atil uo!lean!saseqd leADADS DSRAbOODA DM 'UO!1.11D1.12 lq!s!A Apeap s! 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IUD pue aweJ4 aql 4o saioq aql pm puodsa.uo3 op asaql lnq .,,aDeds Dip jo >peg aq1 „ji.o sasop„ Lp!qm -aq aas) Janus pue aidAnd paa isa6e4s 1s.H4 aq1 wol4 sdalp 4u!ed awns pm paAanop DAC snpAoq Due uo su!d aql (338©) sped wn!uiwnie qlpn u33.15 aled zi# (3-q :0380) punath uolu!ed paa uo Janus e# (e uopas ssao .e9 al!nb!saA!SSDDXa AADA 1ou Iles! 11 .sdaip p!nbq awns Lam; sa6pa ag14e pea AO 1.Aels mil Saul!' >pen awns .Lpnw lou 4nq 'sabpa aL11 -PAO wag. aq1440 6u!ddpp uaaq seq lu!ed paAnolo3 Janus!awns .sAapAoq ag140 1.1ed Aaddn age uo punaie He Apeau Anolop aidAnd paa e as!u6o3DA am ..pou.!uo Alieluozpoq 601 (viAlso) sdaip Tu!ed ql!nn Jaaioq pue 131.110D Tjai iaddn Helaa .Pdcl!a file!uopapu 'Euas uap uen uer seeiN '6,13qufm as!noi Aichimia di Jackson Pollock. Viaggio all'interno della materia 7. Detail of paint layer (©SMA) a real contrast with the first layer by choice of material, colour and visual aspect. It serves for a large part as the underground of the lines and drops that follow. The silver layer has been applied in a more painterly way than the first "ground". Sometimes it interweaves with the paint drops and lines that follow. The silver paint consists of metallic aluminium platelets of 20-100 mm in colophony resin and drying oil containing house paint binding medium (fig. 5). It is visually identical to the one used for Alchemy, Full Fathom Five and many other works of 1947, the year he started to use the silver commercial paint, as stated by Lee Krasner42: «I think it can be used on radiators, or pipes, or anything elseD43. The application of this particular house paint materialises the modern society with its industrialisation, speed, silver machines and its daily utensils". The next stage of the painting is the application of the brushed, poured, dripped and squeezed paint of different colours: yellow, orange, reds, purple, blues, greens and white and blacks (fig. 7). Of all colours, the blue analysed as ultramarine blue immediately catches our attention: a large radiant "stain" situated more or less in the centre of the painting. The ultramarine is pure and has the quality of a strong opaque colour. Pollock painted it in a very early stage over the red violet ground and before the silver that was shaped around before and after. It gives depth to the composition. The opaque ultramarine blue is a drying oil based paint, which may be either an artists' or commercial house paint because of the detection of low amounts of resin compared to the colourful dripping paints applied on top - and for this reason standing on its own. The blue was first painted by brush. Afterwards, some drips have been applied on the paint surface (fig. 8). 162 Figure 8a shows the distribution of the isolated ultramarine containing paint on the surface. "Reflections" of this intense blue are turning around the chosen centre of the composition and take distance with "time", followed by the gesture of the black lines that were applied in a later stadium. In general, Pollocks compositions do not have a central place to look at, but with The Big Dipper we recognise a clear pattern: an eccentric composition. Does this deep blue give us an impression of a clear starry night at the open space, close to his studio and house in front of Accabonac Creek? Other blues, blue greens and light blues have been applied to extend the blue colour over the total of the painted surface. They are applied as dots and drops or sometimes with a small brush all over the paint surface. The analysed oleo-resinous blue house paints show dense and homogeneous layers. The blue pigment is not straightforward - it is probably organic as no indication for elements related to inorganic pigments is found. Different types of green have been used. The acid green is striking by its brightness of colour and its presence, as it turns around with a little distance from the centre following the general movement of the image. This green has been applied thickly by brush and by dripping at the left side of the painting and in the upper right part (fig. 8b). It is a homogeneous mixture of viridian (chromium green) and cadmium yellow, suggesting that a paint manufacturer made this mixture. The only colour in this painting that really appears as a mixture made by the artist is a pale green one. It is made out of a very glossy and inhomogeneous mixture of medium-rich aluminium platelets containing paint and lead white. As the green is present in low quantities, its composition could not be analysed. The paint was applied thickly by brush and shows clear drying problems with a thick wrinkling skin and exudating binder of the paint. The dark green layer is a non-homogeneous paint. In contrast to most other paints, it is bound in a modern alkyd binder. Pollock has been playing with only few strokes and drips of cadmium orange, popping up under the silver and even the blue, the red and the violet, but coming back after the yellow and greens. It is placed mostly at the left and right wing of the composition. The paint is of very homogeneous quality and was applied by dripping, painting and sometimes in a diluted way. This orange has an oleo-resinous binder. Analytical results of Full Fathom Five (1947) show the detection, for the two oranges, of artist paint and an oil-modified alkyd binder45. This means that Pollock used in that same year three different types of medium for one colour: the traditional artist oil paint tube, the glossy oleo-resinous household paint e wo4 pew 'uosw!AD upezue 'luDiti6!d D!ueEdo ue s! 618 Dqi LA! :„monDA wn!wpeD 111.!An palu!ed 3.IDAA Aqsem au[ too walled e Ds!u6o3D.! am .(lam Li! lam) &mei wpm u! lam) DADLI1ApeDAle slu!ed nqi.o!qsruq e sm. se 'pa!idde sem 1.u!ed molIDA!pqm ui anb!uqoal pasn uDaq seq 1.1 .pa!idde Dq!sAnoloD Ise!!jo Duo si svom asaqi iainn pue Awayalv uo pannsqo osie sem weici!Ilopq pue saull Dl!qm!AD1.4.e pue DANN ui paudde sampwos s! win Dupewe,ain ail pm Al6u! DLI1 ADA° lie sd!lp u! AplepHap wide Akio sem pat claap -OD!LIWA 6upa4aalu! 'ADuals!suoD palnup A.IDA e pax!Lu sawpwos s!!.313.113 in pup! e 6u!malp 'Doeptis isluaw50 paquDsap-anoqe aql!1.sailuoD u! - paudde s!!.6g) lu!ed Dsnoq moliaA aql sanb!uipal. luangp pm 1.u!ed pAlie mau kIDA!pue e :pealsu! pasn uDaq DAN of swaps 4uDw60 auodowpep -9,uo!lep!idde4o .„Aamod bu!p!LI .lood!luDwEl!d deDip (VWS© eu3)11 0>1 .101u!ed ploy\ (p :Tu!ed moipA (D!LI3D..16 pine (q !aniq aupewe,qin (e :jo uop.riqpism .8 .13ddia 6!8!jo uopagaH '6.138 uap uen uef seeDI Aichimia di Jackson Pollock. Viaggio all'interno della materia 9. Detail, the start of a white paint drip (©SMA) natural madder extract, precipitated on an aluminiumcalcium substrate. The alizarin crimson is bound in a glossy, oleo-resinous oil binder'''. At the last stage of his work Pollock is applying his automatic writing by the application of poured and dripping lines in white and dominant black. The white paint has that characteristic thixotropic quality. It is thicker than the other colours; therefore, it flows more slowly and is easier to manipulate, which suggests that it was applied directly from the tube. The mixture of a zinc and titanium white is common in other paints, although generally extenders such as chalk or barium sulphate are usee. This application of white paint is characteristic of Pollock's work. It's used solely for straight lines in a pattern of a grid, perpendicularly oriented. Some lines are curved and at certain points reworked with a small brush mixing the white paint with other liquid colours. All the lines start with a drop, followed by very thin controlled lines and ending with a long tail. These tails are the most fragile part of the painting, as they are not always well bound to the underlayer. When two white lines cross, one line sinks into the other one. It is this white paint that gives relief to the surface and was high lightened with wrecking light. The tacky white paint dried slowly, thus attracting dust on top, which became incorporated (fig. 9). We recognise the well-documented technique of Pollocks' squeezing the white industrial paint straight out of the tube after having perforated it51. Generally, the white lines do start at a certain distance from the border. Nevertheless, we get the impression that the lines continue endlessly, giving the sensation of light flashes in the night. 164 Pollock developed this technique with the stiff white paint in 1947. This technique was further developed in the following years: e.g. in Number 31 (1950, Museum of Modern Art, New York). The black lines and dots, applied as the last and final dominant ones, are nearly all curved and show Pollock's handwriting. Unlike the white lines, these extended poured lines, dots and lines with dots, so typical in Pollock's later works, are applied with a brush or a stick with relatively thin glossy black paint from a can. The control of the brush with which the paint is applied is completely different from the shorter white ones. There are no straight lines, but lines that are making arabesques, swirl and turn all around. The paint appears very liquid, which requires a very controlled technique and a quick application. By changing the rapidity of the brush or stick, the line becomes thinner or thicker. By changing the rapidity of the gesture, a lively varying pattern is obtained. By pausing, drops are incorporated in the line. A controlled wrist is necessary. Also the distance of the hand from the painting has an important influence on the result. In contrast to the white lines, the black curves often begin on the edges. The drips are concentrated in certain areas, like the centre part of the composition, and often follow the lines all over the painted surface. Two types of black paint were identified, containing iron oxide and carbon black, respectively. We find these two types in Alchemy but also in The Water Bull. The carbon black paint was analysed to be an industrial modern alkyd paint (See The composition of the paints). The painting was signed and dated using thick black paint at the right bottom corner: «Pollock 47». Last but not least, a manganese violet has been applied homogeneously over the surface by the dripping technique: a last final touch over the colours, the blacks and the whites. The repartition can be found over the whole surface, but with moderation. We can clearly follow the movement of the artists' hand by following the dripped lines as can be clearly seen in figure 7d. This violet household paint was used in other paintings as well. The use of red or violet colours reminds us of the technique Pollock developed in that same year in Enchanted Forest: monochrome black and white paintings with one isolated colour. The composition of the paints - pigments and binding media52 All in all, some fourteen colours were observed on the painting. They are: -!White: mixed white (zinc and titanium oxide) -!Black: carbon black; iron oxide black -!Blues: dark Ultramarine blue; light organic blue 591 slu!ed snot pue ilawcua ieuop!pe,p a.PM slu!ed padd!Ap .„«opapluAs JO mau Aileoppads a,PM Aap41eL11oe4 -ew 40 Al!!!qeHene Aq uan!Jp sem ao!opo s!Li 4eL4 lsabbns ,s1spie pasn U0SpEr leqi paleo!pu! seq s!sAleuv apt l!oidxa 04 uo!spap snopsuoo apt ueql lapleA sie!Aal. lsow ',PAQM01-1 .aqn4 app WOJ4 Apoa.Hp ApJed 'slwed .Apuepunqe pappe s! JanHs al!qm 'pauop snql pinom ppm kasnpu! apt!apew sluawdopAap 's6upwcd Jam!'paapuralep s!Lo Aalie pasn 3,PM leu4 paopou am •AlHenb pue Alpuenb 4uaA344H3 LA! paleJ Aq aJoiaq pauopuaw sv .„puno4 3)e slwed pAlle Apsow -woo Dip!paupap umo sl! sep Anoloo paHdde AA3A3 aw. 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Jou jsanwppe u!saA ou Sep Japwq!aqueql auodowpeo mops siAD9 'paapui .Apoa,!!p senueo aq1 uo paildde pue (aiipm peal pue wn!wwnie pue -p!J!A) uaa,15 PPE !(pasAieue lou) uaak >Imp :suaa,19 pauopuaw se — luaAagp s! weft lu!ed alipm aqi uaa,15 aqn1 ap440 4n0 pazaanbs uaaq anal 04 swaas s!Lp 'aAoqe D!uefuo) uaa.15 1d6H !(moilaA wn!wpeo pue ue! Aaddia 619 atil Jo uopaipd '6Aa8 uap uen uer seeiN 'finqufm as!noi Aichimia di Jackson Pollock. Viaggio all'interno della materia with oleo-resinous binders. Instead, one paint was de- XRF tected to contain the modern alkyd resin binder, also Analysis was carried out using a Bruker Tracer III-SD found in Alchemy and Full Fathom Five, from the same year. Photographs showing the artist in action in 1947 equipped with a thin anode rhodium X-ray tube (operating at 40 kV and 10.40 µA) and a silicon drift detector. show his way of working. Cans of house paint were standing on the table with one particular colour pure or Light Microscopy mixed, with all the sticks and brushes in one direction, oriented towards the hand of the artist, ready for action. Samples were embedded in polyester resin and, after grinding with SiC-paper, examined under a Zeiss Axio- In all, this study confirms «that the lower level of the plan 2 microscope. painting was executed in artists' oils The upper dripped areas are all commercial paints»". SEM/EDX The small size of this paining did not hinder Pollock Analysis of cross-sections was carried out on uncoat- to express himself without losing sight of details, the ed samples using a Jeol JSM 5910 LV scanning electron dominance of his gesture and composition. Some of the pigments were used pure (yellow, or- EDS Detector as part of the Thermo Scientific' NORANTM microscope with a Thermo Scientific UltraDry Compact ange, violet and deep-red), or mixed homogeneously System 7. The data was collected and analysed using NSS by the paint manufacturers, e.g. the acid green which software. employs viridian and cadmium yellow. Pollock himself may have mixed some paints, especially the light green, THM-PyGC-MS which contains organic green, led white and aluminium The samples were analysed using Thermally As- platelets (perhaps from the silver paint) in an excess of sisted Hydrolysis and Methylation Gas Chromatogra- medium which has caused some deformation problems phy-Mass Spectrometry (THM-PyGC-MS) in combina- such as wrinkling and medium exudation. tion with pyrolysis. Sample material was made into In contrast to many of his other paintings made in 1947, Pollock applied no intrusions in The Big Dipper. a suspension with a few drops of a 2.5% solution of tetra methyl ammonium hydroxide in methanol and transferred to a steel pyrolysis cup. The sample was Experimental Scientific analyses were executed by researchers pyrolysed at 550°C. from the Cultural Heritage Agency (RCE) in Amsterdam". rolyser mounted on a Thermo Scientific Focus GC / ISQ Analyses of the different paints were carried out mass spectrometer combination. Separation on a SLB5 non-invasively with X-ray fluorescence spectroscopy ms (Supelco) column -20 m, internal diameter 0.18 mm, The pyrolysis unit used was a Frontier Lab 3030D py- (XRF). Samples were taken to provide more definite an- film thickness 0.18 pm. Helium was used as carrier with a swers about the pigments and fillers with light microsco- constant flow of 0.9 ml/min. Mass spectra were recorded py and Energy Dispersive X-ray Spectroscopy (SEM-EDS), from 29 until 600 amu with a speed of 7 scans per sec- and to obtain useful information on the binding media ond. Xcalibur 2.1 software was used for collecting and that cannot be obtained with non-invasive techniques processing mass spectral data. 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'E# 'fta 'uZ 6 luasaid &mop.) leu0PIPPV Jalem 8,sasAjeuy ad0-9V1OIN .paanolop anpo 1011 Alq!ssod 'punoJ Dwim -DUIZ pue -peal DA pue uZ!AluIe1A1 sal!s Ile!punaig ADqiunu!suo!snpuop Didwes!Aleww!IDAd Jadd!O 5!.9 341 - X03 3311 anolop Jadd!O 6!9 011.1. - 38X .1.1odaJ g!Lp.pvk uospedwoD 3U.10S !slins,1 )(a] pue jdx pauigwo3!anei .x!pu3cidv ADdd!ci 6!9 314140 uop.DDIJ.DH '6aa9 uap UEA Lief seeiN .6.1aqu[mA 3s!noi Aichimia di Jackson Pollock. Viaggio all'interno della materia Results (peak Site nr.!height order descending) 10 Fe, Pb, Zn (Ti, Ca) Aluminium Light Red RCE EDX - The Big Dipper RCE XRF - The Big Dipper Colour 11 Fe, Pb, Zn, Cd (Sr, Ni, Ti, Ca) 14 (from same place as #5) Fe, Pb, Zn (Ti, Ca) 15 (from same place as #5) Fe, Pb, Zn (Ti, Ca) 22 Pb, Zn, Ti, Cr, Cd, Ca (Fe) Dark Red Red Lake 23 Pb (Zn, Ti, Cr, Cd, Ca, Fe) 12 Zn, Pb, Cr, Fe, Ca (Ti) Violet or Purple 13 Zn, Pb, Mn, Fe, Ca (Ti) Preliminary Conclusions Results! Water Bull Additional colours present Conclusions Conclusions #12-1 Al #3 Al, Pb, S?, Ca, Zn (Ba, Fe, Si) Unclear; possibly organic pigments (mixture) #3, #5 S, Fe, Ca, Ba, Zn Unclear; much lead (dryer?), Ca might indicate (transparent) paint #13 Al, P, Zn, Ca Alizarin crimson on All Ca substrate Unclear; possibly organic pigments (mixture) #4 Ca, Zn, P, Mn, Al Manganese phosphate Possibly only metallic aluminium. Similar to ground alone? (Not measurable) Acknowledgments: Katharine Waldron, Federica Parlanti, Birgit van Driel, Art Ness Proano Gaibor and Henk van Keulen are acknowledged for their help with the scientific analyses. The authors are grateful to Laura Kolkena for her assistance during this research. She has been most helpful with the adjustments of different figures. Reflection of the Big Dipper (1947), Collection Stedelijk Museum Amsterdam (SMA), Inv. Number: A 2970, 76,5x110,5 cm. Jackson Pollock: Catalogue Raissonne of Paintings, Drawings, and other works, 4 voll., edited by F.V. 0' CONNER-E.V. THAW, vol. I, Paintings, 1930-1947, New Haven and London, 1978, pp. 172-173. In this text named as The Big Dipper. 168 Sample number MOLAB-OPD Analyses" Metallic aluminium Large transparent inclusion: S, Zn, Fe, Ba, Ca, Al. Yellow particle: S, Cd, K, Zn, Ca, Ba, Fe Red lake and earth pigments and extenders 2 Betty Parsons Gallery, New York, 5-31.1.1948. 3!PEGGY GUGGENHEIM, Out of This Century. Confessions of an Art Addict [1979], Foreword by G. VIDAL, London, 1995, p. 320. 4 !lvi, p. 316. 5!lvi, p. 320. Archives of American Art - Smithsonian Institution; American Women Tastemakers: Betty Parsons and the Betty Parsons Gallery, The Primary source/The Blog. A more extended contract of one page is dd. May 12 1947, Source: Pri nterest. Silver: Al, trace of sulphate, trace of Ca. Red-orange (warm Et opaque): Cadmium sulphidelselenide. BaSO4. Red_2 (bright Et glossy): alizarin crimson (PR83). BaSO4. Dark red (same as Violet_2): Hematite Violet_1: Manganese phosphate. CaSO4. ZnO and CaSO4 in matrix. Violet_2 (same as Dark Red): Hematite heim and her Friends, Milan, 1994, pp. 128-129. 9 Verbal communication Gra2ina Subelyte, curator of the exhibition 1948: The Biennale of Peggy Guggenheim, (Peggy Guggenheim Collection, May 25, 2018-January 14, 2019). Commemoration of the 70th Anniversary of the exhibition in the Greek Pavilion - a milestone event in the history of 20th-century art. '° GUGGENHEIM, Out of This Century ...cit., p. 327. GUGGENHEIM, Out of This Century ...cit., p. 345. "!C. ROODENBURG-SCHADD, Expressie en ordening. Het verzamelbeleid van Willem Sandberg voor het Stedelijk Museum 1945-1962, NAi Rotterdam, 2004, pp. 325-327. Betty Parsons, in V.M. 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'viAis san!ii3.1v 'w!aquabong *d Ot 6Jaqpue5 -AA!DUrlf 40 „Li. palep .1 a11a1 EL JacId!a 6!9 3q4 40 uopapH 'Wag tiap uen ue1 SEER '6,13q0m as!noi Collana Problemi di conservazione e restauro Alchimia di Jackson Pollock Viaggio all'interno della materia a cura di Luciano Pensabene Buemi, Francesca Bettini e Roberto Bellucci © Copyright 2019 by Edifir - Edizioni Firenze Via de' Pucci, 4 - 50122 Firenze (Italia) Tel. +39/055289639 www.edifir.it - edizioni-firenze@edifir.it Responsabile editoriale Elena Mariotti Stampa Pacini Editore Industrie Grafiche, Ospedaletto (Pisa) 978-88-7970-806-7 Foto di copertina Jackson Pollock, Alchimia (Alchemy), Venezia, Collezione Peggy Guggenheim, 1947, particolare dopo it restauro Referenze fotografiche Archivio Fotografico dell'Opificio delle Pietre Dure Collezione Peggy Guggenheim, Venezia: foto © Roloff Beny, National Archives of Canada (p. 22); foto Matteo de Fina (pp. 12, 170, 172, 178 in basso, 179-183); foto David Heald © The Solomon R. Guggenheim (p. 13); foto Herbert Matter - Jackson Pollock and Lee Krasner papers, Archives of American Art, Smithsonian Institution (pp. 6, 27, 34); foto George Kargar (p. 25); foto Sergio Martucci (p. 178 in alto); © Nino Migliori (p. 29) Amsterdam, Stedelijk Museum (pp. 158-164) L'Editore rimane a disposizione degli aventi diritto con i quali non e stato possibile comunicare Fotocopie per uso personale del lettore possono essere effettuate nei limiti del 150/0 di ciascun volume/fascicolo di periodico dietro pagamento alla SIAE del compenso previsto dall'art. 68, comma 4, della legge 22 aprile 1941 n. 633 ovvero dall'accordo stipulato tra SIAE, AIE, SNS e CNA, ConfArtigianato, CASA, CLAAI, ConfCommercio, ConfEsercenti it 18 dicembre 2000. Le riproduzioni per uso differente da quello personale sopracitato potranno avvenire solo a seguito di specifica autorizzazione rilasciata dagli aventi diritto dall'editore. Photocopies for reader's personal use are limited to 150/0 of every book/issue of periodicaland with payment to SIAE of the compensation foreseen in art. 68, codicil 4, of Law 22 April 1941 no. 633 and by the agreement of December 18, 2000 between SIAE, AIE, SNS and CNA, ConfArtigianato, CASA, CLAAI, ConfCommercio, ConfEsercenti. Reproductions for purposes different from the previously mentioned one may be made only after specific authorization by those holding copyright the Publisher.