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Number 19, 1948 is one of the great 'drip' paintings that Jackson Pollock made in a legendary three-year burst of creativity between 1947 and 1950. Despite Greenberg's laudatory praise for this show and for works such as Number 19, 1948 however, it was to take another six months and another exhibition at Betty Parson's Gallery later in the year before more mainstream critics were to recognize the scale and importance of Pollock's achievement and the artist was to begin his meteoric rise to success and notoriety. Pollock had first begun to experiment with the pouring and dripping of paint in his work around 1943 but it was not until 1947 that he made the all-important break away from applying paint directly onto the canvas plane to create completely freeform works composed solely of a complex veil-like surface of drips, splashes and spills made from above. Emulating the techniques of the Navajo Indian sand painters that Pollock had known as a child, the placing of the painting on the ground made a surprising degree of difference to Pollock's working practice. Intuitively following the fluid, material nature of his paint as if it were a guide that led him to a pure, unmediated painterly outpouring of his inner thoughts and the often turbulent emotions that welled up inside him, throughout 1947, Pollock experimented with the dripping and pouring of paint as a more direct and automatic language of self-expression. As the artist's wife, the painter Lee Krasner recalled, Pollock's radical new technique of painting was primarily a way of "working in the air" gesturallly creating "aerial forms which then landed" (L. In many cases Pollock appears to have still been working within a kind of figurative tradition, drawing in places, specific forms spontaneously suggested by his unconscious mind in the air above the canvas.
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It was these startling, original and accomplished paintings that, in Willem de Kooning's phrase, finally 'broke the ice' for American painting, completely revolutionizing it and in the process reshaping the entire history of twentieth century art. In his early experiments of 1943 Pollock had, following a spirit of automatism then common amongst many Surrealist and avant-garde American painters, briefly explored a pouring technique with the aim of freeing further the code-like figurative calligraphy that both distinguished and often overlay his work of this period. Not merely in terms of enhancing the ritualistic and totemic nature of his picture-making, but in freeing the painting from its traditional vertical place on the easel, it completely opened Pollock's painting to the spatial field within which it was to be worked. Where before Pollock's painting had been a convoluted mixture of half-conscious imagery subsequently veiled and obscured by subsequent overpainting and calligraphic gesture, such compulsive creation and correction, stating and then obscuring, now came to be fused into a single act with the new process of painting gesturally in the air above the canvas and letting the thinned paint fall and splatter onto the surface below. He told Nick Carone for instance, that "he wasn't just throwing paint, he was delineating some object, some real thing, from a distance above the canvas" (N.
Displaying a fascinatingly dense, intricate and animated abstract surface--one that reveals the extraordinary mastery that Pollock had over his radical new medium of pouring, dripping and flicking enamel paint onto an unprimed ground--Number 19, 1948 is one of the richest most engaging and successfully resolved of all these famous works.
Central to the development of his painting in respect of these works was his decision around 1946 to begin painting his works on the floor. Not only did his placing of the canvas on the ground then actively encourage drips and spills of paint onto its surface rather than direct application with a brush but, most important of all, it enabled and encouraged the artist to work around the picture from all sides and to treat its entire surface equally and non-hierarchically--to treat the canvas and its image as an holistic as well as a totemic and ritualistic entity. As if to suggest the almost ritualized nature of this practice many of these first works were, at the suggestion of his friends subsequently given quasi-mystical titles such as Alchemy, Enchanted Forest, Cathedral and Lucifer. Indeed, along with the larger painting Number One A also of 1948-the first Pollock 'drip' painting to be purchased by New York's Museum of Modern Art--this work, Number 19, 1948, was singled out as one of the finest of Pollock's achievements to date by the great pioneering champion of Abstract Expressionism, Clement Greenberg, when it was first shown at the artist's second solo exhibition at the Betty Parsons Gallery in January 1949. These relatively simple features of this comparatively unorthodox manner of painting were to have a profound impact on the radical break-away from the tradition of European-orientated easel painting, that Pollock's great 'drip' paintings of the late-1940s came to represent. And, with their apparent link to Native American tradition, they had the added advantage of placing Pollock's work in a distinctly American tradition. 539) Pollock would, "take his stick or brush out of the paint can," the photographic documenter of his working practice, Hans Namuth recalled, "and then, in a cursive sweep, pass it over the canvas high above it, so that the viscous paint would form trailing patterns which hover over the canvas before they settle upon it, and then fall into it and then leave a trace of their own passage.



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