ジャクソン・ポロックのオールオーヴァー絵画の制作過程について

DOI DOI Web Site オープンアクセス

書誌事項

タイトル別名
  • The Creation of Jackson Pollock’s All-Over Paintings
  • ジャクソン・ポロックのオールオーヴァー絵画の制作過程 : ハンス・ネイムス撮影の写真・映像の解析を通して
  • ジャクソン ・ ポロック ノ オールオーヴァー カイガ ノ セイサク カテイ : ハンス ・ ネイムス サツエイ ノ シャシン ・ エイゾウ ノ カイセキ オ トオシテ
  • ハンス・ネイムス撮影の写真・映像の解析を通して

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抄録

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.

収録刊行物

  • 美学

    美学 67 (2), 124-, 2016

    美学会

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