傑克森·波拉克

藝術家
瑪麗·維克維爾（購自藝術家）
N·理查·米勒伉儷，史塔克頓，新澤西
羅伯特·艾孔畫廊，紐約（1970年1月購自上述藏家）
N·理查·米勒伉儷，史塔克頓，新澤西（購自上述畫廊）
馬勃洛畫廊，紐約
私人收藏，米蘭
E·V·索爾，紐約
B·C·霍蘭畫廊，芝加哥
現藏家1986年6月購自上述畫廊

費城，費城藝術博物館，〈費城收藏二十世紀藝術〉，1963年10月-11月，28頁載圖

羅馬，馬勃洛畫廊，〈美國行動繪畫〉，1972 年4月-5月

紐約，雷格藝術館及學習中心，〈大師蹤跡〉，1981年，24頁及封面載圖

紐約，阿奎維拉畫廊，〈十九及二十世紀大師素描及水彩作品〉，1984年4月-5月，品號31

紐約，現代藝術博物館；倫敦，泰特藝術館，〈傑克森·波拉克〉，1998年11月-1999年6月，254頁，品號150，載圖

芝加哥，AEL空間；拿坡里，藝術中心；查爾斯頓，日出博物館；蒙哥馬利，蒙哥馬利美術館；雪城，伊佛森藝術博物館；拉巴克，德州理工大學博物館；安納波利斯，聖約翰學院米切爾美術館；奧塔姆瓦，印地安山社區學院；聖保羅，明尼蘇達藝術博物館，〈紐約畫派及其他：Art Enterprises精選藏畫〉，2001年1月-2003年2月，品號15

柏林，德意志古根海姆美術館；威尼斯，佩吉·古根海姆收藏館；紐約，所羅門·R·古根海姆美術館，〈無界·邊緣：傑克森·波拉克紙本繪畫〉，2005年1月-2006年9月，94頁，品號50，載彩圖

波士頓，波士頓學院麥克馬倫博物館，〈波拉克很重要〉，2007年9月-12月，32頁，品號85

巴黎， 巴黎畫廊，〈波拉克與薩滿主義〉，2008年10月-2009年2月，品號87

芝加哥，墨西哥藝術國家博物館，〈轉譯革命：美國藝術家對墨西哥壁畫家的詮釋〉，2010年1月-8月

芬林，芬林美術館，〈過去與現在〉，2012年5月-8月

《黨派評論》，第15期，品號9，1948年9月，封面背面載圖

弗朗西斯·瓦倫丁·奧康納、尤金·維克多·索爾（編），《傑克森·波拉克：油畫、素描及其他作品專題目錄，第2冊：油畫1948-1955年》，紐海文及倫敦，1978年，19頁，品號198，載圖

塞爾日·吉博，《紐約如何偷走現代藝術，抽象表現主義、自由與冷戰》，1983年，品號20

艾倫·G·蘭多，《傑克森·波拉克》，紐約，1989年，210頁載彩圖

邁克爾·萊亞，《抽象表現主義再論：主觀性與1940年代繪畫》，紐海文及倫敦，1993年，297頁，品號79，載圖

帕特里夏·費林，〈物質繪畫重要嗎？〉，《ARTNews雜誌》，2007年11月，144頁載圖

This work is in very good condition overall Please contact the Contemporary Art Department at +1 (212) 606-7254 for the report prepared by Terrence Mahon. The work is framed in a wood frame painted black and silver.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Jackson Pollock’s Triad from 1948 is significantly recognized as a critical touchstone that bridges the gap between the artist's more Surrealist-inspired paintings from the early 1940s and the iconic drip paintings from later that decade. In the present work, Pollock reimagines the revolutionary pouring method he pioneered in 1947, dripping the paint with the same gestural energy, but within the confines of a template, which produces the entirely unique composition of figures built up from splashes of paint. Testament to its significance in the evolution of Pollock’s artistic style, Triad resided in the collection of E. V. Thaw, the author of Pollock's catalogue raisonné, and has been included in numerous exhibitions in the world’s most renowned museums, including the Solomon R. Guggenheim Museum of Art, New York, the Museum of Modern Art, New York, the Tate Gallery, London, and the Philadelphia Museum of Art, among others.

In the present work, Pollock has inverted the traditional figure ground relationship, applying white paint to a black ground. Abstract in its calligraphic mesh, three merely discernible figures nevertheless emerge from what at first glance appears a tangle of white paint. The right hand figure could be one or two that are joined together; this shape is not as legible as the more anthropomorphic figure on the left, who could be interpreted as dashing off the edge of the painting. What is most striking about this painting, however, is how the figures, despite the frenzy of their composition, adhere to an invisible perimeter delineating their bodies. The gestural painting zig zags to build up form, yet the frenetic flicks and flings of paint stay within a circumscribing perimeter, the result of Pollock placing a stencil on the paper to control the flow of paint. As Michael Leja notes, “Regular and irregular, erratic gestures are controlled enough to serve the production of distinct, legible figures. The constitution of figures from drawn and patterned marks is, consequently, the principal subject of this work, although the problem of relating figure to ground has not been abandoned. The absence of an outline bounding the figures keeps the separation between figure and ground from completeness; the black ground permeates the interior of the bodies, anchoring them and subverting their autonomy. Still, the fact that line in this picture works exclusively to constitute figures and not produce simultaneously an encompassing field marks another variation in Pollock’s handling of figure- field relations.” (Michael Leja, Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s, New Haven and London, 1993, p. 296)

The implied stenciling evident in the clean edges of Triad’s figures relates the present work to a series of collage experiments Pollock pursued in 1948, in which he cut out figurative forms from a ground of poured painting, collaging them atop new works, a unique process that allowed Pollock to negotiate figure-field relationships in two distinct iterations. The sense of a cut out or stencil is unavoidable in Triad, the white paint reaching to but not past the unseen edges of a template, commingling with the black ground. Triad also embodies the way in which Pollock conflated drawing and painting, freeing line to become painterly in addition to describing figures, a crowning achievement he had reached in his practice with the advent of the pouring method. Bernice Rose notes that what came to separate Pollock’s painting and drawing, however superficially, was “the degree to which line describes figures,” a technique that is beautifully crystallized in the surface of Triad. (Bernice Rose, Jackson Pollock: Works on Paper, New York, 1969, p. 10) Pollock never distinguished between his drawings and paintings; rather, he valued both as direct and authentic methods of expressing his innermost nature, energy, and drive in his vital and iconic gesture.