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Jackson POLLOCK | Blue poles
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United States of America 1912 – 1956
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Blue poles [Number 11, 1952] 1952
enamel and aluminium paint with glass on canvas
OT 367
212.1 (h) x 488.9 (w) cm
signed and dated l.l., "Jackson Pollock 52";
(originally inscribed with a "3", subsequently painted over with a "2")
Purchased 1973
NGA 1974.264
© Jackson Pollock. Licensed by ARS & VISCOPY, Australia
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The purchase of Blue poles by the Acquisitions Committee of the Australian National Gallery in September 1973 for US$2 million ($A1 348 170 at the time of payment) precipitated a voluminous international press reaction about the implications of the sale for the art market. In compiling the bibliography, citations have been confined to references that discuss the painting. The more' sensational' aspects of the press reaction, and articles which focused on the implications of the sale for the art market, are documented in the introduction to this catalogue.

James Fitzsimmons, 'Jackson Pollock', Art Digest, 15 November 1952, p.17.

Robert M. Coates, 'From Ingres to Pollock, Direct', New Yorker, 22 November 1952, p.179.

Robert Goodnough, 'Jackson Pollock', Artnews, vol. 51, no. 8, December 1952, p.42 (ill.).

S. Lane Faison Jr, review, Nation, 13 December 1952, p.564.

Belle Krasne, 'Nine American Painters, Nine American worlds', Art Digest, vol. 28, no. 8, 15 January 1954, p.12, p.11 (ill.).

Robert Goldwater, 'Individuality and Style', Design Quarterly, no. 30, 1954, p.8 (ill.).

John I.H. Baur, The New Decade, New York: Macmillan, 1955, p.68 (ill.).

Robert Rosenblum, 'The New Decade', Arts, vol. 29, no. 8, 15 May 1955, p.21.

Robert M. Coates, review, New Yorker, 29 December 1956(?), pp.47-8.

John I.H. Baur, New Art in America, Greenwich, Connecticut: New York Graphic Society, 1957, p.241 (ill. col.).

Maurizio Calvesi, 'Genio di Pollock', 14 soli, March-April 1958, no. 2, pp.19-21.

M.C., review, Burlington Magazine, vol. 100, no. 699, December 1958, p.450.

Robert Melville, 'London: Pollock at the Whitechapel', Arts, vol. 33, no. 4, January 1959, p.16 (ill.).

Frank O'Hara, Jackson Pollock, New York: George Braziller, 1959, pp.30-1 (ill. col. pl. 75, and detail ill. frontispiece).

Bryan Robertson, Jackson Pollock, London: Thames and Hudson; New York: Harry N. Abrams, 1960, pp.19-38 (ill. col. pl. 19, and detail ill. pl. 18 and reproduced in colour on cover).

W.G. Archer, 'Jackson Pollock', Studio International, vol. 161, no. 816, April 1961, p.161.

Yoshiaki Tono, 'Jackson Pollock, or the New Rite of Hate- Love for Image', Mizue, no. 672, April 1961, pp.14-15.

Henry Geldzahler, 'Heller: New American-type Collector', Artnews, vol. 60, no. 5, September 1961, pp.28-31, 58, p.30 (photograph of Blue poles installed in the Hellers' apartment).

Michael Fried, 'Some Notes on Morris Louis', Arts Magazine, vol. 38, no. 2, November 1963, pp.22-6, cf. p.22.

Harold Rosenberg, The Anxious Object: Art Today and Its Audience, New York: Horizon Press, 1964, p.83.

Samuel Green, American Art: A Historical Survey, New York: Ronald Press, 1966, p.596 (ill. pl. 6-67).

Lloyd Goodrich, Three Centuries of American Art, New York: Whitney Museum of American Art, 1966, pp.120-1 (ill. col.).

Edward B. Henning, Fifty Years of Modern Art, Cleveland: Cleveland Museum of Art, 1966, n.p.

John Gruen, 'Jackson Pollock: A Fury Contained', Status and Diplomat, vol. 18, no. 203, April 1967, pp.40-1.

Barbara gold, 'A Reevaluation of Pollock', Baltimore Sun, 9 April 1967.

Bruce Glaser, 'Jackson Pollock: An Interview with Lee Krasner', Arts Magazine, vol. 41, no. 6, April 1967, pp.36-9, p.39 (ill. col, detail).

Jack Kroll, 'Painting As Action: The World of Jackson Pollock', Newsweek, 17 April 1967, p.97 (ill. col.).

Bartlett F. Jones, 'Jackson Pollock Retrospective', America, 21 September 1967, p.329.

Allen S. Weller, The Joys and Sorrows of Recent American Art, Urbana, Ill.: University of Illinois Press, 1968, p.26 (ill. pl. 32).

Finley Eversole, review of 1967 exhibition at the Museum of Modern Art, New York, in Theology Today, July 1968, p.254.

Italo Tomassoni, Pollock, Florence: Sadea Editore; London: Thames and Hudson, 1968, pp.74-5 (ill. col.).

Alberto Busignani, Pollock, Florence: Sadea/Sansoni, 1970; London, New York, Sydney, Toronto: Hamlyn, 1971, n.p. (ill. col. pl. 37).

' Jackson Pollock', Praeger Encyclopedia of Art, New York: Praeger Publishers, 1971, p.1589 (ill. col.).

Werner Haftmann, 'Masters of Gestural Abstraction', Art Since Mid-Century, 2 vols, Greenwich, Conn.: New York Graphic Society, 1971, vol. 1, pp.13-49, p.20 (ill. col. pl. 4, with title as 'blue posts').

Maurice Tuchman, The New York School, The First Generation, Greenwich, Conn.: New York Graphic Society, 1965 (a revised edition of the original Los Angeles County Museum catalogue of the exhibition 'The New York School', 1965); also published by Thames and Hudson, London, 1970, as The New York School: Abstract Expressionism in the 40s and 50s, p.121 (ill. pl. 88).

Barbara Rose, 'Quality in Louis', Artforum, vol. 10, no. 2, October 1971, pp.62-5, cf. p.63.

Harry C. Rutledge, 'Classical Latin Poetry: An Art for Our Time', in The Endless Fountain: Essays on Classical Humanism (ed. Mark Morford), Columbus, Ohio: Ohio state University Press, 1972, pp.139-40, 159 (ill.).

B.H. Friedman, Jackson Pollock: Energy Made Visible, New York: McGraw-Hill, 1972, pp.201-3.

John Elderfield, 'Painterliness Redefined: Jules Olitski and Recent Abstract Art: Part 2', Art International, vol. 17, no. 4, April 1973, pp.36-40, pp.101-2, cf. p.36.

Ellen Johnson, 'Jackson Pollock and Nature', Studio International, vol. 185, no. 956, June 1973, pp.257-62, p.261 (ill.).

Jane Holtz Kay, 'In a Class by Itself', Christian Science Monitor, 27 October 1973 (ill.).

Stanley P. Friedman, 'Loopholes in "Blue Poles"', New York Magazine, 29 October 1973, pp.48-51, p.51 (ill. col.). Objections to this article by Thomas B. Hess and Barbara Rose were published in Letters to the Editor, New York Magazine, 9 November 1973.

Les Levine, 'A Portrait of Sidney Janis on the Occasion of His 25th Anniversary as an Art Dealer', Arts Magazine, vol. 48, no. 2, November 1973, pp.51-4, cf. p.52. Clement Greenberg, quoted in Vogue Australia, vol. 16, no. 10, December-January 1973-74, p.109.

Kenneth Evett, 'Pollock; Cézanne', New Republic, vol. 170, no. 3081, 26 January 1974, pp.24-6.

William Rubin, 'Pollock Was No Accident', New York Times Magazine, 27 January 1974, pp.35-7, 50, pp.36-7 (ill. col.). Excerpts from this article were reprinted in Dialogue, vol. 7, no. 2, 1974, pp.44-56.

Anthony Everitt, Abstract Expressionism, London: Thames and Hudson, 1975, p.18 (ill. col. pl. 10, with date as 1953).

Frank O'Hara, Art Chronicles 1954-1966, New York: George Braziller, 1975, p.26 (ill. pl. 10, cropped on all sides).

John Russell, The Meanings of Modern Art, vol. 12, How Good is Modern Art?, New York: Museum of Modern Art, 1975, p.11 (ill. col.).

Michele Cone, The Roots and Routes of Art in the 20th Century, New York: Horizon Press, 1975, cf. pp.189, 191 (ill.).

Andrew Kagan, 'Paul Klee's Influence on American Painting: New York School', Arts Magazine, vol. 49, no. 10, June 1975, pp.54-9, p.58 (ill.).

Sam Hunter, La Peinture Américaine Contemporaine, Paris: Editions Tête de Feuilles, 1976, p.31 (ill. col. pl. V, a detail also reproduced in colour on cover).

Bryan Robertson, 'Blue Poles', Art and Australia, vol. 14, nos 2 and 3, January-April 1977, pp.297-301, pp.298-9 (ill. col.).

Francis Valentine O'Connor and Eugene Victor Thaw, Jackson Pollock: A Catalogue Raisonné of Paintings, Drawings and Other Works, 4 vols, New Haven and London: Yale University Press, 1978, vol. 2, no. 367, pp.193-7, pp.194-5 (ill.).

Charles F. Stuckey, 'Another Side of Jackson Pollock', Art in America, vol. 65, no. 6, November-December 1977, pp.80-91, p.85 (ill. col.).

Barbara Rose, 'Jackson Pollock at Work: An Interview with Lee Krasner', Partisan Review, vol. 47, no. 1, 1980, pp.82- 92, cf. p.89. Also published in Barbara Rose (ed.), Pollock Painting: Photographs by Hans Namuth, New York: Agrinde Publications, 1980, n.p.

Siegfried Wichmann, Japonisme: The Japanese Influence on Western Art Since 1858, London: Thames and Hudson, 1981, pp.404-5 (ill. col.).

Elizabeth Frank, Jackson Pollock, New York: Abbeville Press, 1983, pp.97, 98-9 (ill. col.).

Stephen Polcari, 'Jackson Pollock and Thomas Hart Benton', Arts Magazine, vol. 53, no. 7, March 1979, pp.120-4, p.123 (ill.).

Jackson Pollock, Paris: Centre Georges Pompidou, Musée National d'Art Moderne, 1982 (exhibition catalogue), pp.200-1 (ill. col.).

Sam Hunter and John Jacobus, Modern Art: From Post-Impressionism to the Present, New York: Harry N. Abrams, Inc., 1985, p.271 (ill. col, Blue poles incorrectly identified as being in the collection of the Art Gallery of New South Wales).

Matthew L. Rohn, Visual Dynamics in Jackson Pollock's Abstractions, Ann Arbor, Michigan: UMI Research Press, 1987, pp.52-5.

Ellen G. Landau, Jackson Pollock, New York: Harry N. Abrams, 1989, pp.222-3, pp.227-8 (ill. col.).

David Anfam, Abstract Expressionism, London: Thames and Hudson, 1990, p.176, pp.164-5 (ill. col. pl. 129).

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