Jackson Pollock Magic Lantern Analysis
The artwork Magic Lantern was created by American artist Jackson Pollock in 1949 and currently is hung on a wall in the Rhode Island School of Design Museum. In order to create his piece, the Pollock used oil paint, aluminum paint, enamel, and even carpet tacks, and ended up with a truly texturally intricate result. It stands at 108.9 x 55.2 cm, or 42 7/8 x 21 3/4 inches for those less metrically-inclined. Magic Lantern is a fascinating abstract painting, but in comparison to many other abstract paintings, this work of art focusses less on representational matters. Instead, it works to be a personally interpretable work when the overall nature and the particulars of it is taken into account, whether through its use of artistic elements or principles of design. The size of the work, while still being semi-considerable, does not take on any intimidating qualities and it isn’t a piece that awes the viewer. The viewer is free to look closely at whatever parts of Magic Lantern and this piece almost requires more intimate observation in order to truly receive all it has to offer. All the details present
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This creates a sense of immediacy as the paint flows liberally and directly from Jackson Pollock’s chosen tools to the canvas on the floor. The quick flowing nature of the paints is readily visible as a viewer can literally see when Polluck made quick rushing movements and slow precise curves. The trails of paint tell you plainly and it is possible to read the story of the artwork’s making just by observing them. Circular and separate splatters shows how fast the artist must have made those strokes of movement, the paint must have had no time to gracefully trail out any gestures. In other areas it is clear that Polluck must have taken his time; when the paint drips in an unbroken line, it becomes apparent that the even pacing constitutes a conscientious
This creates a sense of immediacy as the paint flows liberally and directly from Jackson Pollock’s chosen tools to the canvas on the floor. The quick flowing nature of the paints is readily visible as a viewer can literally see when Polluck made quick rushing movements and slow precise curves. The trails of paint tell you plainly and it is possible to read the story of the artwork’s making just by observing them. Circular and separate splatters shows how fast the artist must have made those strokes of movement, the paint must have had no time to gracefully trail out any gestures. In other areas it is clear that Polluck must have taken his time; when the paint drips in an unbroken line, it becomes apparent that the even pacing constitutes a conscientious