Yoshiaki Tono, “Jackson Pollock, or the New Rite of Hate-Love for Image,” “Mizue” 672 (April 1961), p.

Bryan Robertson, “Jackson Pollock” (Harry N.

Frank O’Hara, “Jackson Pollock,” Great American Artists (George Braziller, 1959), pl.

Dore Ashton, “Art,” “Arts and Architecture” 73, 1 (January 1956), p.

Jackson Pollock, “My Painting,” “Possibilities” 1, 1 (Winter 1947–48), p.

Edward Morris Reference Number 1987.261 Copyright © 2018 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York Extended information about this artwork (circa) or BCE.ġ946 Medium Oil on linen Inscriptions Signed and dated: recto: 'Jackson Pollock 46' (lower left in black paint) not inscribed on verso Dimensions Unframed: 149.8 × 208.3 cm (59 × 82 1/16 in.) 149.9 × 208.3 cm (59 × 82 in.) Credit Line Through prior gift of Mr.

Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. Status On View, Gallery 398 Department Contemporary Art Artist Jackson Pollock Title The Key Place United States (Artist's nationality) Dateĭates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. The resulting abstraction, with its expressive, gestural appearance, prefigured the allover compositions of Pollock’s celebrated drip paintings, which debuted the following year. Although there is a general suggestion of landscape, here the process of painting became primary, expressing the power of spontaneous action and chance effects.

Marking a crucial moment in his evolution as an artist, this quasi-Surrealist painting was created on the floor of an upstairs bedroom and worked on directly from all sides. The Key belongs to Jackson Pollock’s Accabonac Creek series, named for a stream near the East Hampton property that he and his wife, the painter Lee Krasner, purchased in late 1945.

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