He had been expelled from two schools before he finally joined his elder brother in Art Students League, where they became Thomas Hart Benton’s students. Jackson was not highly influenced by Benton’s theme of the American countryside and instead relied mostly on his dynamic style of painting and his sense of freedom (Potter 43).
Jackson also struggled with alcoholism to an extent that he had to attend physiotherapy classes. In 1945, he married an American painter, Lee Krasner, and they moved together to the Springs area in East Hampton. They bought a house and a barn. Jackson then converted the barn into a studio, and it is in that room where he produced some of his greatest works. He continued practicing the drip painting technique to a point that the Time magazine dubbed him as “Jackson the Dripper” (Engelmann 72). His career was cut short on August 11, 1956, when he had an accident when driving in an intoxicated state. He succumbed to severe injuries and died the same day.
In 1943, Jackson painted a mural on a canvas for Peggy Guggenheim on the floor to make it easily portable. One art critic, Marcel Duchamp, saw the mural and wrote: “I took one look at it and I thought, ‘Now that’s great art’ and I knew Jackson was the greatest painter this country had produced” (Landau 40). It is said that most of his paintings expressed Jungian concepts and archetypes. Historians say that his work might have had bipolar disorder meaning that it was hard for someone to understand exactly what Jackson Pollock had in mind when making a certain painting.
David Alfaro Siqueiros, a Mexican muralist, is the man who introduced Jackson to the use of liquid in 1936. Some of the most famous paintings by Jackson are the Male and Female and Composition with Pouring I. He preferred to use household paintings, adding that they were much better compared to artist’s paints because they represented “a natural growth out of a need” (Potter