id: 149947 accession number: 1980.180 share license status: Copyrighted url: https://clevelandart.org/art/1980.180 updated: 2019-04-18 11:49:26.149000 Number 5, 1950, 1950. Jackson Pollock (American, 1912-1956). Oil on canvas; framed: 138 x 102 x 5 cm (54 5/16 x 40 3/16 x 1 15/16 in.); unframed: 136.5 x 99.1 cm (53 3/4 x 39 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1980.180 © Pollock-Krasner Foundation / Artists Rights Society (ARS), New York title: Number 5, 1950 title in original language: series: series in original language: creation date: 1950 creation date earliest: 1950 creation date latest: 1950 current location: 227 Abstract Expressionism creditline: Leonard C. Hanna, Jr. Fund copyright: © Pollock-Krasner Foundation / Artists Rights Society (ARS), New York --- culture: America, 20th century technique: oil on canvas department: American Painting and Sculpture collection: American - Painting type: Painting find spot: catalogue raisonne: --- CREATORS * Jackson Pollock (American, 1912-1956) - artist --- measurements: Framed: 138 x 102 x 5 cm (54 5/16 x 40 3/16 x 1 15/16 in.); Unframed: 136.5 x 99.1 cm (53 3/4 x 39 in.) state of the work: edition of the work: support materials: inscriptions: --- CURRENT EXHIBITIONS title: Year in Review: 1980 opening date: 1981-06-23T04:00:00 Year in Review: 1980. The Cleveland Museum of Art (June 23-July 19, 1981). title: Creativity in Art and Science, 1860-1960 opening date: 1987-09-16T04:00:00 Creativity in Art and Science, 1860-1960. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987). title: The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art opening date: 2006-06-09T00:00:00 The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art. MOCA Cleveland, OH (June 9-August 20, 2006). --- LEGACY EXHIBITIONS * New York, Betty Parsons Gallery, Jackson Pollock, (28 November - 16 December 1950), no cat.
Paris, Studio Paul Facchetti, Jackson Pollock 1948-1951 (7-31 March 1952).
New Haven, CT, Yale University Art Gallery, Object and Image in Modern Art and Poetry (30 April - 14 June 1954), no. 27.
Sao Paulo, Brazil, Museo de Arte Moderna, Pollock (1957), no. 19.
Basel, Kunsthalle, The New American Painting (19 April - 26 May 1958), no. 18; traveled to Hamburg, Kunstverein, 19 July - 17 August 1958; organized by the Museum of Modern Art, New York (International Council); possibly traveled to Milan, Galleria civica d'arte moderna (1-29 June 1958); Berlin, Hochscule fur Bildende Kunst (1 September - 1 October 1958); Amsterdam, Stedelijk Museum (17 October - 24 November 1958); Brussels, Palais des Beaux-Arts (6 December 1958 - 4 January 1959); London, Tate Gallery (24 February - 23 March 1959); New York, Museum of Modern Art (28 May - 8 September, 1959)
Paris, Musée National D'Art Moderne, Jackson Pollock and the New American Painting (16 January - 15 February 1959), no. 16; organized by the Museum of Modern Art, New York (International Council).
New York, Museum of Modern Art, Recent Acquisitions (1959-1960).
Buenos Aires, Museo de Arte Moderno, First International Modern Art Exhibition (1960).
New York, Museum of Modern Art, Painting and Sculpture and Graphic Art from the Museum Collection (1962-3).
Organized by Museum of Modern Art, New York, Two Decades of Amercian Painting, selected by Waldo Rasmussen: shown at: Japan, Tokyo, National Museum of Modern Art, Oct 15-November 27, 1966; Kyoto, National Museum of Modern Art, December 10, 1966-January 22, 1967; India, New Delhi, Lalit Kala Akademi, March 28-April 15, 1967; Australia, Melbourne, National Gallery of Victoria, June 6-July 9, 1967; Sydney, Art Gallery of New South Wales, July 17-August 13, 1967
London, Tate Gallery, The Art of the Real: An Aspect of American Painting and Sculpture 1948-1968 (24 April - 1 June 1969), p. 54, cat. no. 37, ill. p. 16; organized by the Museum of Modern Art, New York (International Council).
Cleveland, OH, Cleveland Museum of Art, The Spirit of Surrealism (3 October - 25 November 1979), no. 94.
Cleveland, OH, Cleveland Museum of Art, Year in Review for 1980 (1981), no. 106.
Cleveland, OH, Cleveland Museum of Art, Creativity in Art and Science, 1860-1960, September 16-November 8, 1987, cat. no. 42, p. 131. repr., color pl. VIII, p. 81.
The Cleveland Museum of Art (06/21/2005 - 09/11/2005); "CMA Highlights"
MOCA Cleveland (6/9/2006 - 8/20/2006): "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art" no. 91, p. 121, color repr. p. 100. --- PROVENANCE The Cleveland Museum of Art, Cleveland, Ohio date: 1980- footnotes: citations: Museum of Modern Art, New York (Gift of Mr. and Mrs. Walter Bareiss, 1957), sold to the Cleveland Museum of Art date: 1957-1980 footnotes: citations: * "Painting and Sculpture Acquisitions January 1, 1957 through December 31, 1957," The Bulletin of the Museum of Modern Art 25.4 (July 1958): 3-24. page number: url: * Pollock, Jackson, Francis V. O'Connor, and Eugene Victor Thaw. Jackson Pollock: A Catalogue Raisonné of Paintings, Drawings, and Other Works. New Haven: Yale University Press, 1978. page number: url: Walter [1919-2007] and Molly Bareiss [1920-2006], Greenwich, CT date: 1950-1957 footnotes: citations: * Betty Parsons Gallery, Sales and Purchases: Sales Invoices, Barc-Bart, 1950-1973, Box 25, Folder 29, frame 3, Archives of American Art, New York, NY page number: url: (Betty Parsons Gallery, New York, sold to Mr. and Mrs. Walter Bareiss) date: 1950 footnotes: citations: --- fun fact: Pollock was married to Lee Krasner, whose work is also exhibited in this gallery. digital description: Pollock was not interested in creating realistic depictions of the world around him. Rather, he wanted his paintings to express emotions. He even numbered his works to avoid giving viewers any specific expectations about what they would see. wall description: Notoriously nicknamed "Jack the Dripper" by Time magazine, Pollock pioneered the technique of flinging pigment from store-bought cans of paint onto canvas placed flat on the floor. Filled with intricate webs of lines and intermingled spatters, paintings such as Number 5, 1950 are unusually direct records of the artist's moving body and hand gestures. In addition to their then-radical method of creation, they feature compositions that cover their entire surfaces without an obvious center or direction, thus constituting an innovative breakthrough in the history of painting. --- RELATED WORKS --- CITATIONS --- IMAGES