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Mark Rothko © 1998 Kate Rothko Prizel and Christopher Rothko / Artists Rights Society (ARS), New York, NY |
Jackson Pollock © 2000 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York, NY |
Based on:
Jackson Pollock (American, 1912-1956).
Convergence, 1952,
oil on canvas, 93 x 155" Gift of Seymour H. Knox, 1956
Mark Rothko (American,
born Russia, 1903-1970).
Orange
and Yellow, 1956,
oil
on canvas, 91 x 71" Gift of Seymour H. Knox, 1956
This lesson is an exercise in looking and thinking, making comparisons and connections. It relates to elements in all categories of the comprehension strategies of the third-grade language arts program: relate ideas, organize information, synthesize ideas, evaluate ideas, and generate and apply ideas. The family project could relate to the science and math curricula by turning the students' survey results into graphs and charts, followed by an analysis of the compiled data.
Mark Rothko and Jackson Pollock both developed their painting styles in New York during the 1940s and 1950s. They were part of a group of artists now known as the abstract expressionists. Although each of the artists associated with this movement worked in a very individual style, they were linked by the desire to find a new means of artistic expression. Rather than including recognizable objects in their work, they used the elements of painting itself – color, line, shape, brushstrokes, texture, and light – to express emotions. Their influences included prehistoric cave paintings, Native American, pre-Columbian, Mexican, and African art, along with the modern European movement, surrealism, which looked to dreams and the unconscious for subject matter.
Although artists rarely want to be categorized, the label "abstract expressionism" aptly describes their work. The paintings are completely abstract, with no recognizable objects from the real world (another term for completely abstract is NON-OBJECTIVE), and the purpose of their art is to create expression and emotion.
Abstract expressionism can be roughly divided into two general types. Jackson Pollock was representative of "action" or "gesture" painting, in which the artist's process and movements were an important aspect of the end result. Mark Rothko's work is an example of "color-field painting," in which the artist was more concerned with creating an overall field of paint. The two works included in this lesson plan are typical of each artist's work: Pollock created many so-called "drip" paintings, some in black and white and others with color; and most of Rothko's images consist of two or three floating rectangles in various color combinations.
Artistic concerns were not the only impetus behind the development of abstract expressionism. The end of World War II, the explosion of the atomic bomb, and the realization that mankind had developed the ability to destroy itself were all factors in creating a mood of introspection and reflection. Although most abstract expressionists were trained in traditional forms of artmaking, they rejected representational art as incapable of expressing the emotional atmosphere of the time. By turning to new forms of expression Pollock, Rothko, and their colleagues brought American painting to international prominence and for the first time an American city, New York, replaced Paris and other European centers as the leader of the avant-garde art world.
What do you see?
How were they made?
Jackson Pollock and Mark Rothko approached the creation of their paintings in different ways. Ask the students to figure out how they think each painting was made. Use the table below to guide the discussion.
| POLLOCK'S PAINTING TECHNIQUE | ROTHKO'S PAINTING TECHNIQUE |
|---|---|
| The canvas was on the floor (if it had been on an easel, the paint would have dripped downwards). | The canvas was on an easel. |
| Paint was dripped on to the canvas, and is very thick in some places. | Paint was applied very thinly with sponges and cloths to avoid leaving any visible brushstrokes. |
| Part of the result is random, but look for evidence of control (e.g. the orange loop in the upper left corner). | Most of the result is controlled, but look at the way the edges of the shapes are indistinct. |
| Pollock's technique allows us to envision his movements while creating the painting. That's why it's known as "action" or "gesture" painting. | Rothko wanted us to think only about colors and the moods they create, not about him. This is called "color-field painting." |
| The whole surface isn't covered. The beige color seen in many areas is the bare canvas. | The whole surface of the canvas is covered with paint. |
See if the students can figure out in which order the colors were applied.
The contrasts found in Pollock's and Rothko's paintings can be applied to other aspects of ourselves and our environment.
For example:
Ask similar questions with subjects like dancing, clothing, food, music, TV shows, etc. Make it fun!
Now create your own non-objective compositions using line and color!
For this part of the lesson, you will need a lot of white string, markers, scissors, white glue, and white paper.