抄録
This paper analyzes the photographs and films which recorded the creation of Jackson
Pollock’s all-over paintings. Hans Namuth was photographer and filmmaker who did
them in 1950. There are black-white photographs which show two all-over paintings,
and films which show three all-over paintings.
Pepe Kermel analyzed these photographs and films, and insisted that there were
humanoid and animal figures in all-over paintings (Pepe Kermel, 1998). However,
as Kent Minturn pointed out (Kent Minturn, 2001), there is a possibility that Kermel
arbitrarily made such figures by graphic software.
This paper tries to analyze these photographs and films again. I sorted these by stages,
and reconstructed whole canvas. As a result, it became clear that there are humanoid
figures and materials at the first layers of No. 27, 1950, No. 29, 1950. Pollock drew
strokes on upper layers to cover these figures. Meanwhile, on the red canvas picture
which is lost now, Pollock didn’t draw the representational figures, but made each
layer by repeating same simple lines from side to side. We can see that Pollock had
two methods for making all-over paintings, one with representational figures and one
without.
