Personal reflections on Jackson Pollock's fractal paintings
Bibliographic Data
| ID | 3089882 |
|---|---|
| Authors | R P Taylor (0000-0002-5248-4524, University of Oregon, corresponding author), Richard Taylor (0000-0002-2625-088X, University of Oregon Eugene, USA) |
| Year | 2006 |
| Volume | 13 |
| Issue | suppl |
| Pages | 109-123 |
| Publication date | 2006-10-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | História Ciências Saúde-Manguinhos (JOURNAL) |
| Journal identifiers | ISSN: 0104-5970 • E-ISSN: 1678-4758 |
| Publisher | FapUNIFESP (SciELO) (PUBLISHER) |
| DOI | 10.1590/s0104-59702006000500007 |
| OpenAlex | W2016137376 |
| SCIELO_PID | S0104-59702006000500007 |
| Language | EN |
| References cited | 5 |
The art world changed forever when Jackson Pollock picked up a can and poured paint onto a vast canvas rolled across the floor of his windswept barn. Fifty years on, art theorists recognize his patterns as being a revolutionary approach to aesthetics. A significant step forward in understanding Pollock's aesthetics occurred in 1999 when my scientific analysis showed that his paintings are fractal. Fractals consist of patterns that recur at finer and finer magnifications, building up shapes of immense complexity. Significantly, many natural patterns (for example, lightning, clouds, mountains, and trees) are also fractal. In this essay, I will present some personal reflections on this relationship between the fractal patterns of Pollock and those of nature, and also on the interactions between art and science as the project evolved
Aesthetics · Art · Art history · Camouflage · Fractal · Painting · Pollock · Visual arts · Aesthetic Perception and Analysis · Art History and Market Analysis · Artificial Intelligence · Computer Science · Mathematics
| Citation velocity | historical |
|---|---|
| Highly cited | No |