National Gallery of Art :: The Collection :: Number 1, 1950 (Lavender Mist)

Overview

No overview.

Inscription

upper right two hand prints (Pollock's); lower left: Jackson Pollock '50

Marks and Labels

null

Provenance

Purchased 1951 from the artist through (Betty Parsons Gallery, New York) by Edward F. Dragon and Alfonso A. Ossorio [1916-1990], East Hampton, New York; purchased 1976 through (Thomas Gibson Fine Art Ltd., London) by NGA.

Exhibition History

1950
Jackson Pollock Exhibition, Betty Parsons Gallery, New York, 1950.
1961
Jackson Pollock, Kunsthaus, Zurich, 1961, no. 8, repro.
1967
Jackson Pollock, The Museum of Modern Art, New York, 1967, no. 45, repro.
1978
American Art at Mid-Century: The Subjects of the Artist, National Gallery of Art, Washington, 1978.
1982
Jackson Pollock, Centre Georges Pompidou, Paris, 1982, no. 264, repro.
1996
Abstraction in the Twentieth Century: Total Risk, Freedom, Discipline, Solomon R. Guggenheim Museum, New York, 1996, fig. 106.
1998
Jackson Pollock, Museum of Modern Art, New York; Tate Britain, London, 1998-1999, no. 174, repro.

Bibliography

1959
O'Hara, Frank. Jackson Pollock. New York, 1959:26, repro. 53
1960
Robertson, Bryan. Jackson Pollock. New York, 1960: 20, repro.
1962
Ashton, Dore. The Unknown Shore: A View of Contemporary Art. Boston, 1962: repro. 125
1965
Sawyer, Kenneth B. "The Artist as Collector: Alfonso Ossorio." Studio International 196, no. 863 (March 1965):109
1971
Plessix, Francine du. "Opulence and Discrimination: Alfonso Ossorio." in Lipman, Jean, ed. The Collector in America. New York, 1971:202, repro.
1973
Johnson, Ellen. "Jackson Pollock and nature." Studio International 185, no. 956: 262, repro.
1974
Blake, Peter. "Ossorio." Architecture Plus. 2, no. 1 (January/February 1974):68, repro.
1977
Richard, Paul. "The Field Painting As a Metaphor For the Mind of Modern Man." The Washington Post. (May 29, 1977): E2, repro.
1978
King, Marian. Adventures in Art: National Gallery of Art, Washington, D.C. New York, 1978: 116, pl. 75., as Lavender Mist.
1979
Watson, Ross. National Gallery of Art. London, 1979: 134, pl. 120, color repro.
1980
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 210, repro.
1980
Rosenzweig, Phyllis. The Fifties: Aspects of Painting in New York. Washington, DC:13, repro.
1980
Wilmerding, John. American Masterpieces from the National Gallery of Art. National Gallery of Art, Washington, D.C., 1980: 18, 19, no. 63, color repro.
1981
Williams 1981, color repro. 222, detail 232,
1982
Hughes, Robert. "An American Legend in Paris." Time (1 February 1982): 70-71, repro. [exhibition review]
1982
Wilson, Simon. "Jackson Pollock at the Beaubourg." The Burlington Magazine (May 1982): 316.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 614, no. 949, color repro.
1988
Wilmerding, John. American Masterpieces from the National Gallery of Art. Rev. ed. National Gallery of Art, Washington, D.C., 1988: 192, no. 73, color repro.
1991
Kopper, Philip. America's National Gallery of Art: A Gift to the Nation. New York, 1991: 263, color repro.
1992
Fiero, Gloria K. "The Quest for Meaning in the Visual Arts." in The Humanistic Tradition 6:89, repro.
1992
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 263, repro.
1992
National Gallery of Art, Washington. National Gallery of Art, Washington, 1992: 266, repro.
1997
Hughes, Robert. American Visions: The Epic History of Art in America. New York, 1997: 486-487, color fig. 287.
2000
Torres, Louis and Michelle Marder Kamhi. What Art Is: The Esthetic Theory of Ayn Rand. Peru, Illinois, 2000: 407, nt. 159.
2004
Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 436-439, no. 360, color repros.
2009
Gariff, David, Eric Denker, and Dennis P. Weller. The World's Most Influential Painters and the Artists They Inspired. Hauppauge, NY, 2009: 172-173, color repro.
2010
Monet y la abstracción. Exh. cat. Museo Thyssen-Bornemisza, Madrid, 2010: 33, 34 fig. 16.

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