Jackson Pollock. Convergence

Whether this model occurred just before the painting was produced or during the procedure is of no consequence; the thing is that it is an artistic expression. A chromatic harmony exists. The lines and directions, the shapes, colors and forces on the painting look to erupt being a physical action. As such, Convergence is a superior instance of action or gesture painting in the Abstract Expressionist style.

The apogee of gestural painting is pure action paintingexemplified greatest by the work of its most conspicuous performer and cornerstone on the New York School, Jackson Pollock. Pollock's loops, blots, splashes, and skeins of color in a painting like Convergence are flipped, dripped, or thrown onto the canvas (Laid out flat on the floor during execution).

but with less dependence on accidental effects how the observer may possibly suppose. Each splash, drip, or splatter is often a controlled accident, the result from the artist\'s sensitivity -- formulated via experience--to the combination of his unique motion (of both hand and body) and the pounds and degree of fluidity on the paint in determining the nature of its fall as he moves around the borders of [the] Canvas interweaving colors and rhythms with 1 one more (Canaday 132).

The big size of the painting also puts it inside a category from the Abstract Expressionists in their defiance with the smaller works of \"fine painting.

Over the decades, Pollock\'s jobs has been analyzed in terms of Jung\'s theory of archetypes and Surrealist ideas of formlessness and symbolism. The a couple of basic schools of criticism, however, that have been most influential in analyzing Pollock\'s work with the 1950s, the time of \"Convergence,\" were Clement Greenberg and his followers, and Harold Rosenberg and Allan Kaprow. Greenberg viewed Pollock\'s paintings as ?dematerialized veils of color? whilst Rosenberg and Kaprow interpreted the paintings as traces of the individual ritual or dance (Hilson),

So while Jaffe believes that Pollock\'s sort and vitality spring from pessimism and rejection on the past and its belief system, Polcari believes that Pollock did not so significantly reject the past as rediscover it, and therefore he was driven by idealistic beliefs.

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