'''ジャクソン・ポロック'''（'''Jackson Pollock''', アメリカの画家である。

ポロックは、アクション・ペインティングおよび抽象表現主義の代表的な画家であり、第二次大戦後のアメリカをパリをしのぐ美術の中心地とする上で大いに貢献した。

== 生い立ち ==
1912年、ワイオミング州コーディに生まれる。1928年、ロサンゼルスのマニュアル・アーツ・ハイスクールに学び、1930年からはニューヨークのアート・スチューデンツ・リーグでも学んでおり、当時全盛だったアメリカン・シーン派（地方主義）の画家トーマス・ハート・ベンソンの指導を受ける。1935年から1942年にかけては、WPA（公共事業促進局）の連邦美術計画の仕事をしている。この連邦美術計画は、ニューディール政策の一環として新進の画家に公共建築物の壁画や作品設置などを委嘱したもので、マーク・ロスコ、ウィレム・デ・クーニングなど、多くの著名な画家がこれに参加した。彼も壁画を担当することとなり、かねてから尊敬していたメキシコ壁画運動の作家たち、たとえばダビッド・アルファロ・シケイロスらの助手を務め、巨大な壁一面というキャンバスとは異なる大きさの空間に、絵筆ならぬスプレーガンやエアブラシで描く現場に衝撃を受ける。

またこの頃からユング派の精神治療に通うようになった。（この医院で医療行為（ここは争点になっている）として描いたデッサン類が後に流出し売買され問題となった。）

== アクション・ペインティング ==
ポロックは、クラズナー）と結婚。1943年頃から、キャンバスを床に平らに置き、缶に入った絵具やペンキを直接スティックなどでしたたらせる「ドリッピング」という技法で制作しはじめ、1947年から全面展開し注目や好奇心を集め始める。この手法には幼い頃に見たインディアンの砂絵など、先住民の描き方が影響を与えたほか、先述の壁画制作の体験も影響しており、従来の絵画の描き方やあり方に対して疑問を持っていたポロックがたどり着いた地点といえる。

また、絵画のキャンバスは現実の風景や姿形等を再現する場所ではなく、作家の描画行為の場（フィールド）であると考えていた。彼は絵具をキャンバスに無意識にたたきつけているように思われるが、このころはかなり意識的に絵具のたれる位置や量までをコントロールするようになっていった。そのほか、「地」と「図」の差のない均質なその絵画は「オール・オーヴァー」と呼ばれ、他の抽象表現主義の作家たちと共通するところがある。

== 最期 ==
1950年代にはいると、アメリカを代表する芸術界の有名人と化してしまったこと、飲酒癖の再発や、絵画の手法への更なる疑問から、次第に低迷期に入った。黒いエナメル一色のドリッピングや、人体やトーテムなど具象的な画題の復活、さらにふたたび色とりどりの抽象に戻るなど模索を繰り返していた。

そんな折の1956年8月11日、若い愛人やその友人と飲酒したあと猛スピードで道路を飛ばしていたポロックは、木立に激突する自動車事故にて44歳で死亡した。
 
ポロックの生涯は、『ポロック 2人だけのアトリエ』(2000年)というタイトルで映画化されている。原作はピュリッツァー賞受賞作で、名優エド・ハリスが監督、主演、制作の3役を務めている。

== 代表作 ==
*五尋の深み（1947）（ニューヨーク近代美術館）
*緑、黒、黄褐色のコンポジション（1951）（川村記念美術館）
*収斂（1952）（バッファロー、オルブライト=ノックス美術館）
*カットアウト（1948－1950頃）（大原美術館）
 
== 外部リンク ==
*[http://www.ebel-kunst.de ジャクソン・ポロック]

{{Infobox Artist
| bgcolour      = silver
| name          = Jackson Pollock
| image         = Namuth - Pollock.jpg
| imagesize     = 
| caption       = Photographer Hans Namuth extensively documented Pollock's unique painting techniques.
| birthname     = Paul Jackson Pollock
| birthdate     = 
| location      = Cody, Wyoming
| deathdate     = 
| deathplace    = Springs, New York
| nationality   = American
| field         = Painter
| training      = 
| movement      = Abstract expressionism
| works         = 
| patrons       = Peggy Guggenheim
| awards        = 
}}

'''Paul Jackson Pollock''' (American painter and a major force in the abstract expressionist movement. He was married to noted abstract painter Lee Krasner.
==Early life== 
Pollock was born in Native American culture while on surveying trips with his father.<ref name=iha/> In 1930, following his brother Charles, he moved to Thomas Hart Benton at the Art Students League of New York. Benton's rural American subject matter shaped Pollock's work only fleetingly, but his rhythmic use of paint and his fierce independence were more lasting influences.<ref name=iha/> From 1935 to 1943, Pollock worked for the WPA Federal Art Project.<ref></ref>

==The Springs period and the unique technique==

thumb|left|353px|[[No. 5, 1948]]
In October 1945, Pollock married another important American painter, Springs on Long Island, New York. Peggy Guggenheim loaned them the down payment for the wood-frame house with a nearby barn that Pollock made into a studio. It was there that he perfected the technique of working spontaneously with liquid paint. 

Pollock was introduced to the use of liquid paint in 1936, at an experimental workshop operated in New York City by the Mexican muralist David Alfaro Siqueiros. He later used paint pouring as one of several techniques in canvases of the early 1940s, such as "Male and Female" and "Composition with Pouring I." After his move to Springs, he began painting with his canvases laid out on the studio floor, and developed what was later called his "drip" technique. The drip technique required paint with a fluid viscosity so Pollock turned to then new synthetic resin-based paints, called alkyd enamels.  Pollock described this use of household paints, instead of artist’s paints, as "a natural growth out of a need".<ref name="about"></ref> He used hardened brushes, sticks and even basting syringes as paint applicators. Pollock's technique of pouring and dripping paint is thought to be one of the origins of the term action painting. With this technique, Pollock was able to achieve a more immediate means of creating art, the paint now literally flowing from his chosen tool onto the canvas. By defying the conventional way of painting on an upright surface, he added a new dimension, literally, by being able to view and apply paint to his canvases from all directions.

In the process of making paintings in this way he moved away from figurative representation, and challenged the Western tradition of using easel and brush, as well as moving away from use only of the hand and wrist; as he used his whole body to paint. In 1956 ''Time'' magazine dubbed Pollock "Jack the Dripper" as a result of his unique painting style.

thumb|300px|Pollock's ''One: Number 31, 1950'' occupies an entire wall by itself at the [[Museum of Modern Art, New York City]]
Pollock observed Indian chaotic motion, and was attempting to form what he perceived as a perfect representation of mathematical chaos - more than ten years before Chaos Theory itself was discovered.
Even though some experts have pointed to the possibility that he (Pollock) could have simply been imitating popular theories of the time in order to give his paintings a depth not previously seen.

In 1950 Hans Namuth, a young photographer, wanted to photograph and film Pollock at work.  Pollock promised to start a new painting especially for the photographic session, but when Namuth arrived, Pollock apologized and told him the painting was finished.  Namuth's comment upon entering the studio:

thumb|right|Pollock's Studio in Springs, NY.

==The 1950s and beyond==
Pollock's most famous paintings were during the "drip period" between 1947 and 1950.  He rocketed to popular status following an August 8 1949 four-page spread in Life Magazine that asked, "Is he the greatest living painter in the United States?"  At the peak of his fame, Pollock abruptly abandoned the drip style.<ref>[http://www.artnet.com/magazineus/features/saltz/saltz9-18-06.asp The Tempest by  Jerry Saltz (repinted on artnet.com)]</ref>

Pollock's work after 1951 was darker in color, including a collection in black on unprimed canvases, followed by a return to color<ref name=bio></ref> and he reintroduced figurative elements. During this period Pollock had moved to a more commercial gallery and there was great demand from collectors for new paintings. In response to this pressure, along with personal frustration, his alcoholism deepened.

==From naming to numbering==
Pollock wanted an end to the viewer's search for representational elements in his paintings, thus he abandoned naming them and started numbering them instead. Of this, Pollock commented:  "...look passively and try to receive what the painting has to offer and not bring a subject matter or preconceived idea of what they are to be looking for."  Pollock's wife, Lee Krasner, said Pollock "used to give his pictures conventional titles... but now he simply numbers them. Numbers are neutral. They make people look at a picture for what it is - pure painting."<ref name="about"/>

==Death==
thumb|left|Jackson Pollock's grave in the rear with Lee Krasner's grave in front in the Green River Cemetery.
Pollock did not paint at all in 1955.<ref name=bio/> After struggling with alcoholism his whole life, Pollock's career was cut short when he died in an alcohol-related, single car crash in his Oldsmobile convertible, less than a mile from his home in Springs, New York on August 11 1956 at the age of 44. One of his passengers, Edith Metzger, died, while the other passenger, Pollock's girlfriend Ruth Kligman, survived. After his death, Pollock's wife, Lee Krasner, managed his estate and ensured that Pollock's reputation remained strong in spite of changing art-world trends.  They are buried in Green River Cemetery in Springs with a large boulder marking his grave and a smaller one marking hers.

==Legacy==
thumb|Jackson Pollock, ''[[Blue Poles: Number 11, 1952,'' National Gallery of Australia]]
The Pollock-Krasner House and Studio is owned and administered by the Stony Brook Foundation, a non-profit affiliate of the State University of New York at Stony Brook.  There are regular tours of the house and studio from May - October.

A separate organization, the Pollock-Krasner Foundation, was established in 1985. The Foundation not only functions as the official Estate for both Pollock and his widow Lee Krasner, but also, under the terms of Krasner's will, serves "to assist individual working artists of merit with financial need."<ref>[http://www.pkf.org/press.html The Pollock-Krasner Foundation website: Press Release page]</ref> The U.S. copyright representative for the Pollock-Krasner Foundation is the Artists Rights Society<ref>[http://arsny.com/requested.html Most frequently requested artists list of the Artists Rights Society]</ref>.  

In 2000, the biographical film ''Pollock'' was released. Marcia Gay Harden won the Academy Award for Best Supporting Actress for her portrayal of Lee Krasner.  The movie was the project of Ed Harris who portrayed Pollock and directed it.  He was nominated for Academy Award for Best Actor.  

In 1973, Whitlam Government for the National Gallery of Australia for US$2 million (A$1.3 million at the time of payment). At the time, this was the highest price ever paid for a modern painting. In the conservative climate of the time, the purchase created a political and media scandal.

The painting is now one of the most popular exhibits in the gallery, and now is thought to be worth between $100 and $150 million, according to the latest news.<ref name="Canberra"></ref> It was a centerpiece of the Museum of Modern Art's 1998 retrospective in New York, the first time the painting had returned to America since its purchase.

In November 2006 Pollock's "No. 5, 1948" became the world's most expensive painting, when it was sold privately to an undisclosed buyer for the sum of $140,000,000. The previous owner was film and music-producer David Geffen. It is rumored that the current owner is a German businessman and art collector. 

An ongoing debate rages over whether 24 paintings and drawings found in a Wainscott, New York locker in 2003 are Pollock originals.  Physicists have argued over whether fractals can be used to authenticate the paintings.  Analysis of the pigments shows some were not yet patented at the time of Pollock's death. The debate is still inconclusive.<ref>[http://www.nytimes.com/2006/12/02/books/02frac.html?ex=1322715600&en=088aba6319b31d32&ei=5088&partner=rssnyt&emc=rss The Case of Pollock’s Fractals Focuses on Physics by Randy Kennedy - New York Times - December 2, 2006]</ref><ref>[http://www.msnbc.msn.com/id/20216976/site/newsweek/ Seeing Is Believing?  Is this a real Jackson Pollock? A mysterious trove of pictures rocks the art world. Cathleen McGuigan, Newsweek Aug. 20-27, 2007 issue]</ref>

In 2006 a documentary, ''Who the Fuck Is Jackson Pollock?'', was released which featured a truck driver named Teri Horton who bought what may be a Pollock painting worth millions at a thrift store for five dollars.