Pollock

The author acknowledges Ruth Kligman; Athos Zacharius; the Art Chronicles of the Smithsonian; Jerry Saltz, Village Voice art critic; photographer Robin Holland; artists James Cullina of ArtSleuth, Bob Stanley, Kathy Segall, and Bill Rabinovitch; authors Carmel Reingold, James Robert Parish, George Sullivan, Susan Waggoner, and William Kuhns; agents Stephany Evans, Elaina Zucker, Robert Markel; Barlow Hartman and Mercedes Ruehl; James Yohe of Ameringer/Yohe/Fine Art; Tina Dickey, editor of the Hans Hofmann Catalogue Raisonné; Maggie Seildon of Jason McCoy Gallery; Cheryl Orlick of the Albright-Knox Art Gallery; Bradley D. Cook of Indiana University Archives; Jennifer Ickes of the New Orleans Museum of Art; Isabelle Dervaux, Curator of Modern and Contemporary Art, National Academy Museum; Verity Hawson, Lillian Kiesler, Cornelia Sontag, Bérangère Mardelé, and Eliane de Sérésin of Parkstone Press; for research support, Bro. Frank O’Donnell, Edie LaGuardia Hansen, Dr. Mark Cooper and Gene Carney; Vera Haldy for German translation; Herbert Verbesey and Gerard Sullivan for the Latin dedication; Antonio Bautista, Michael Morris; Cheryl Murray of Entertainment Law Digest; also, Alternative Research for on-line research; Richart Taylor and his Jackson Pollock center at the University of Oregon.

Thanks to Catherine O’Reilly for her dedication, generosity, meticulous and expert editorial input on this and a dozen books over the past 25 years.

I dedicate this work to these colleagues with whom I share a common bond. They generously made my work this past year possible: Tom Brenn, Paul Cibrowski, Joe Clark, Richard Csarny, Jim Cullina, Gene Carney, Jim DeVito, Joe Fagan, Bill Gannon, Brian Griffin, Bob Higdon, John Kane, Mel Kubander, Joe LaSala, Joe Manzo, Joe Maurer, Charlie Miller, Bob Moriarty, SM, Frank O’Donnell, SM, Andy Oravets, Frank Poliafico, Bob Schult, Bruce Segall, Rhett Segall, John Spellman, Brian Trick, Herb Verbesey, Joe Wessling, Ken White, and Jim Wolf. Gestas cum sociis res meminisse juvat. (It delights me to remember all the things we shared together).

The writer has tried to be accurate in referencing. However, there are very likely errors here, especially in the chronological order of events, and the titles and dates of works. For the first two years or so after publication, corrections and updates may be available in English from [email protected].

AbEx

Abstract Expressionism

AOTC

Art of This Century, Manhattan

Benton

Thomas Hart Benton

Guggenheim

Peggy Guggenheim

Krasner

Lee Krasner

MoMA

Museum of Modern Art, Manhattan

Pollock

Jackson Pollock

Each of the four sections of this book refers to a span of at least ten years. Each subsection, usually covering one year, opens by noting historical events relative at least indirectly to Pollock, or offers some significant backdrop to his life. Events named within that year are not necessarily presented here in strict chronological order. This book should not be relied on for trying to create a strict chronology of details.

Although several interviews and over twenty biographies of Pollock were referred to while researching this work, when referring to ‘Pollock’s biographers’ without specific names, the reference is to the extensive work of Naifeh & Smith. Likewise, ‘de Kooning’s biographers’ always refer to Stevens & Swan. ‘Peggy Guggenheim’s biographer’ always refers to Mary V. Dearborn.

Untitled (Self-portrait), 1931–1935. Oil on gesso on canvas, mounted on fibreboard, 18.4 × 13.3 cm, The Pollock-Krasner Foundation, New York.