‘Summertime: Number 9A’, Jackson Pollock, 1948 | Tate

 

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In 1945, Pollock moved from New York City to Long Island. His studio was a converted barn without heating or lighting. Pollock’s aim to work directly from his unconscious led to a radical process of dripping and pouring paint over large canvases placed flat on the ground. The rhythms in Summertime reflect his belief that ‘The modern artist … is working and expressing an inner world – in other words expressing the energy, the motion, and other inner forces’. Several commentators have suggested that a frieze of figures lies under the abstract web of paint in this work.

Gallery label, November 2005

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