Object number1994.9.2
Number 10, 1950
Date1950
Artist
Jackson Pollock
(American, 1912-1956)
CultureAmerican
MediumOil, enamel and aluminum paint on canvas laid down on fiber board
DimensionsUnframed: 64 15/16 x 36 5/8 in. (165 x 93 cm)
Framed: 68 1/8 x 39 x 3 15/16 in. (173 x 99 x 10 cm)
Framed: 68 1/8 x 39 x 3 15/16 in. (173 x 99 x 10 cm)
Credit LineGift from the collection of Katherine Sanford Deutsch, class of 1940
On View
On viewPeriod20th c
Classification(s)
SignedSigned (LR): Jackson Pollock
Catalogue raisonnéNo. 290; p. 111ProvenanceBetty Parsons GalleryExhibition HistoryJapan, Shimane Art Museum, "Paris--New York; Modern Paintings in 19th and 20th Century Master Works from the Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York," March 7 - May 11, 2008. Cat. no. 51, p 106.
Japan, Ishibashi Museum of Art, "Paris--New York; Modern Paintings in 19th and 20th Century Master Works from the Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York," May 17 - July 20, 2008. Cat. no. , p .
Japan, Yamagata Museum of Art, "Paris--New York; Modern Paintings in 19th and 20th Century Master Works from the Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York," July 30 - August 31, 2008. Cat. no. , p. .
Japan. Fuchu Art Museum, "Paris--New York; Modern Paintings in 19th and 20th Century Master Works from the Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York," September 6 - November 3, 2008. Cat. no. , p. .
Japan, Miyazaki Prefectural Art Museum, "Paris--New York; Modern Paintings in 19th and 20th Century Master Works from the Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York," November 14 - December 14, 2008. Cat. , p. .
Label TextJackson Pollock was a leading figure among the generation of artists who searched for a radically new approach to art-making following the incalculable devastation of World War II. As Pollock explained in a 1951 radio interview, “The modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or of any other past culture.” Upending conventions of easel painting, Pollock replaced brushes with sticks and other implements that he used to drip and pour house paint across unstretched canvas. Working on the floor, Pollock could approach the canvas from all sides, a practice influenced in part by seeing Navajo artists execute sand paintings. Number 10, 1950 is exceptional among Pollock’s celebrated “drip paintings” due to its vertical rather than horizontal format, and its sinuous and relatively spare passages of paint that reveal a distinctive reddish-brown ground.
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