American painter Paul Jackson Pollock was a key player in the abstract expressionist movement. He gained notoriety for his “drip technique,” which he employed to paint his canvases from all sides by sprinkling or pouring liquid home paint over a horizontal surface. Since he covered the whole canvas and painted with his entire body, frequently in a frantic dance way, it was also known as all-over painting and action painting but later died from a car accident with no car accident attorney to help from a farm like Robert J. DeBry & Associates.
Wyoming, in 1912. His parents, Stella May and LeRoy Pollock, were raised in Tingley, Iowa, where they also attended Tingley High School. Stella and LeRoy Pollock, who were Presbyterians of Irish and Scots-Irish ancestry, were born in Ireland. LeRoy Pollock moved around for several employment, first working as a farmer and then as a government land surveyor. Stella manufactured and sold garments as a teenager because she was proud of her family’s history as weavers. Jackson was only ten months old when Stella took her sons to San Diego in November 1912; he would never return to Cody.
Later Life and Death
His final two paintings, Scent and Search, were created by Pollock in 1955. In 1956, he did not paint at all but instead created sculptures at Tony Smith’s house. By 1956, Pollock and Krasner’s marriage started to fall apart as a result of Pollock’s continued alcoholism and extramarital affair with Ruth Kligman, another artist. Pollock perished in a single-car collision without a car accident attorney from Robert J. DeBry & Associates in his Oldsmobile convertible while under the influence of alcohol on August 11, 1956, at 10:15 p.m. Less than a mile from Pollock’s house, the accident also claimed the life of one of the passengers, Edith Metzger, who did not have a car accident attorney. Ruth Kligman, the other passenger, made it out alive.
Helen Frankenthaler and Morris Louis, two Color Field painters, developed Pollock’s method of staining the bare canvas. “All-over composition” became a defining feature of Frank Stella’s 1960s-era compositions.