RUNNING HEAD: ANALYSIS OF PAPER

POLLOCK, JACKSON. REFLECTION OF THE BIG DIPPER

NAME

INSTITUTION

Introduction
RUNNING HEAD: ANALYSIS OF PAPER

Reflection of the Big Dipper is a combination of paint layers dripped with enamel as the

concluding composition on its final touch. It was developed by Jackson Pollock in 1947. It

involved the use of stick brushes, knives and trowels and adding foreign matter such as coins,

nails, paint tube tops, broken glass and bottle caps to its canvasses. From this radicalized

decision, Pollock application of paint became his main theme. The work of Pollock’s became a

transitional step between his revolutionary dripping technique of paint being dripped to

canvasses on a large scale and differentiated from its traditional handling of paint. The thousands

of tiny droplets of color scattered across the surface shall always remind Pollock of the long clear

night sky (O'Connor et al., 1978).

Abstract Expressionism fans will be drawn to Jackson Pollock’s big dipper painting.

Works done during this period in his life include Shimmering Substance and Eyes in The Heat. It

is recognized that abstract drip paintings executed by Jackson Pollock’s in 1947 opened a way to

the bolder, gestural technique that embraces action paintings. The de Kooning vigorous

brushstrokes that began in the early 1950s led to emotive richly expressive styles. Throughout

the 1950s, the abstract expressionism became the most influential art movement during the

periods of the time in the United States. Later on, the movement leadership shifted to color-field

and abstract imagist painters, in whose 1960s followers rebelled against its irrationality regarding

action painters (Taylor et al., 2007).

The Big Dipper painting was carried out in 1947 when Mahatma began his quest for

peace. Viewers will be taken on the journey as well by Pollock’s, through space and time using

masterful strokes. To some, action painting is confusing while to others; it signifies pure freedom

of movement. The brush contains strokes expected to lead the eye towards a specific direction.

For example, by gazing at the sky, we become captivated by raw power evident in them. The
RUNNING HEAD: ANALYSIS OF PAPER

dark color spots in paintings by Pollock’s recall the depth of the sky at night. In winter or

summer, the Big Dipper stands out. It is a juxtaposed raw energy against possibilities that are

endless. The artists accurately reflect the inner journey own paintings. He hopes each viewer will

take it as their own with actions and events standing out (Naifeh & Smith, 1984).

Due to the impact of the paintings on us, some will be more vivid in our memories and

some brighter than others because of the impact they have on us. The pattern becomes beautiful

for us to see. They appear in a way that makes an impression more remarkable and hopeful on

others and us while remaining significantly disconnected. The Big Dipper is an abstract painting

that comes from the subconscious. It is uninhabited and raw. Why Pollock chose to express

himself using these theme remains a mystery. However, it has remained and inspired many

throughout the millennia (Pollock, 1947).

Conclusion

When using the Big Dipper, various individuals have contemplated the vastness of the

sky at night on their journey home and help them locate their homes and directions. During

periods of turmoil, we can reflect on the beautiful spots of our past and help steer other people

towards a brighter future.

Reference
RUNNING HEAD: ANALYSIS OF PAPER

Naifeh, S., & Smith, G. W. (1984). Jackson Pollock. Ann Arbor: UMI Research Press, 345, 58.

O'Connor, F. V., & Thaw, E. V. (Eds.). (1978). Jackson Pollock: A catalogue raisonné of

paintings, drawings, and other works. Yale University Press.

Pollock, J. (1947). My painting. Jackson Pollock: Interviews, Articles, and Reviews, 17-18.

Taylor, R. P., Guzman, R., Martin, T. P., Hall, G. D. R., Micolich, A. P., Jonas, D., ... & Marlow,

C. A. (2007). Authenticating Pollock paintings using fractal geometry. Pattern

Recognition Letters, 28(6), 695-702.