Jackson Pollock, master of arts

Jackson Pollock, master of arts

This may be a strange item for one who appears so rational. Pollock it is, for me, indeed.
My first serious exposure to his work was immediately decisive. During the visit to New York (see why), I of course went to MoMA. Turning around a corner into yet another hall with prime art, I was mentally soaked up into this huge modern painting on the opposing wall.
You guessed it, that turned out to be One: number 31, as shown above in a somewhat scale-down graphic while the original is some 5m wide.
Since that experience, I became more interested in the fellow, feeling having gained insight into what modern art (even Pollock's) is about, and feeling having acquired an enormously improved discretion of what constitutes good (modern) art and what doesn't.
Years later, during a business trip to London, (after having had a round of golf with François, again) I needed a museum wardrobe to store my luggage to have a free hand to see some sights. I asked the taxi driver to drop me off at one museum or another, which, not surprisingly, was no exact enough direction. Out of the hat I then suggested to be dropped off at the Tate Gallery.
This turned out to be a perfect gamble. Tate had this grand overview of the life and works of, ..., well, that's not worth the guess. It concerned the traveling exhibition of which the framed pictures you see above and further on (and at my house..!) are the posters. All the major works were there, in chronological order, which indeed not only gave a complete picture of the masterty, but also of the various stages of development of Pollock's styles.
Since then, appreciating art, and life in general as subset thereof, have not quite been the same. The discretion about the good or the mediocre in art have further been enhanced. If I may say so, which I may, since the topic is art.
Well, there's a lot of text for you, we'd now better go forward to some selected pictures. Just click on them to have them in a bigger (sometimes, really big) frame.
What, no links here? No, since all on Pollock indeed is on the web, but too fragmented to have a few easy entry points.

Some favourites, in no tightly maintained stylistic order (On the contrary, stylistic development could better be studied by placing some pieces in an unchronological order..?)
Male and Female (1942)
Full Fathom Five (1947)
Greyed Rainbow
Cathedral (1947)
Lucifer (1947)
Number 14 (1948)
Autumn Rhythm: Number 30 (1950)
Lavender Mist: Number 1 (1950)
One: Number 31 (1950)
Number 32 (1950)
Blue Poles: Number 11 (1952)
Untitled (1951)