The first thing you'll notice about She-Wolf is, well, it's a wolf. But this wolf is really a template for a study of painting materials, for what painting can do. It is a wolf, in other words, but that's not really that important actually. Symbolic references coming out of Jung and Freud again. But, rather, let's think about how this paint is handled. Now, one of the things that you may have your eye caught to initially is this very fine paint splatter here. Now, this is an easel painting, meaning that it was painted on the easel, not on the floor. And it's painted with artist quality paints from the tube with brushes. In other words, conventional stuff for the most part. However, this splatter of paint is the kind of thing that you'd get from flicking your wet paintbrush directly at the painting. In other words, not dripping on the floor, but splashing, spraying paint. This is a technique that David Alfaro Siqueiros, among other people, used. And Pollock, who studied with Siqueiros in New York City, certainly threw paint around, so to speak. And here we have a very, very early source in Pollock's work, 1943 again, of the drip. Not the splash so much, but there are certainly some free drips going on in the background of this painting. These are really, really low in the painting chronologically. In other words, it's one of the first marks that were made on the canvas. Now, very broadly, starting to work in with the wolf here, and you can see all of his very, very fine splatter all over the painting. Now, very interestingly, if you start looking at this background, so to speak, of the painting, which is this kind of muted gray, blue color, this is not really the background at all. And if you start to look at areas like this on the right edge, you start to see that that blue is actually brought over the paint, obscuring all that splatter underneath on the painting. Now, if we go up to the top, we begin to see that actually there's a little bit of spray going on, some loose drips of that so-called background color, as well. And there's also some kind of finger painting going on in here, a sculptor's idea in paint. In other words, the paint's already there, and then manipulating it strictly for texture. So, already, Pollock really interested in the texture of the painting. And while we're on that subject, we'll look down here at the lower left. And we'll realize that as we really zoom in here, that Pollock has actually added sand into his paint. Not for color, in fact, you don't see the color of the sand at all. Rather you have this very gritty, well, guess what, sandpaper type texture because there's literally sand mixed into the paint. Feel free to try that yourself. Strictly a textural change that Pollock's working with. But going back to this gray, blue color. Very interesting that Pollock has brought this background, so to speak, over the figure, which is to say the wolf and all of this splatter. And this idea derived from Franz Kline, among other painters, who work with a black figure on ground, but then work with white paint, bringing the ground back over the figure and refining it. Kind of a give and go about figure and ground, an idea that really has its source in Franz Kline. Pollock picks it up, de Kooning did a whole lot of this. It's one of those ideas that were in the air, so to speak. So, finally, just to recap She-Wolf, certainly a whole lot of psychology going on here, a whole lot of expressionism going on, and gestural kind of painting. Things that make you think of de Kooning in terms of these very loud, very fast brush strokes, aggressive colors. But then the early source of the drip. She-Wolf, 1943.