著者

筧 菜奈子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.109-120, 2014-06-30 (Released:2017-05-22)

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This paper considers the influence from Oriental Calligraphy in Jackson Pollock's (1912-1956) "black paintings". The Black paintings are the series of monochromes that Pollock produced from 1951 to 53. In these works, Pollock bled the ink on canvas. By these features, it has been considered that Pollock was influenced by Calligraphy. But Clement Greenberg, who is influential in the study of Pollock, eliminated the influence from Oriental art in Pollock's works. And his purpose is to present Pollock as a legitimate successor of European modernism. Therefore no one proved it clearly. However, in fact, there were many artists that were interested in Calligraphy around Pollock. Then, Pollock possessed some books about Oriental culture, and used tools of Calligraphy. Therefore Pollock was surely influenced by Calligraphy. Moreover, this Paper pointed out that Pollock often depicted letters. In the black paintings, Pollock also depicted the pictographic images that he had already painted before. The reason that Pollock was influenced by calligraphy may come from such concern about letters. Thus, adopting a style of Calligraphy, Pollock created a new way that could depict the past pictographic images in the black paintings.

著者

筧 菜奈子

出版者

京都大学大学院人間・環境学研究科岡田温司研究室

雑誌

ディアファネース -- 芸術と思想 = Diaphanes: Art and Philosophy (ISSN:21883548)

巻号頁・発行日

vol.4, pp.51-70, 2017-03-30

著者

筧 菜奈子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.2, pp.124, 2016 (Released:2018-01-01)

著者

筧 菜奈子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, pp.49-60, 2017 (Released:2018-07-01)

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This paper analyzes the photographs and films which recorded the creation of Jackson Pollock’s all-over paintings. Hans Namuth was photographer and filmmaker who did them in 1950. There are black-white photographs which show two all-over paintings, and films which show three all-over paintings. Pepe Kermel analyzed these photographs and films, and insisted that there were humanoid and animal figures in all-over paintings (Pepe Kermel, 1998). However, as Kent Minturn pointed out (Kent Minturn, 2001), there is a possibility that Kermel arbitrarily made such figures by graphic software. This paper tries to analyze these photographs and films again. I sorted these by stages, and reconstructed whole canvas. As a result, it became clear that there are humanoid figures and materials at the first layers of No. 27, 1950, No. 29, 1950. Pollock drew strokes on upper layers to cover these figures. Meanwhile, on the red canvas picture which is lost now, Pollock didn’t draw the representational figures, but made each layer by repeating same simple lines from side to side. We can see that Pollock had two methods for making all-over paintings, one with representational figures and one without.

著者

筧 菜奈子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, pp.123, 2013-12-31 (Released:2017-05-22)