So, here we are in 1950, a painting called One: Number 31, a very strange title, and in my mind, one of Pollock's three best paintings. These three paintings were painted the same size, the same year, 1950. The other two are Autumn Rhythm and Lavender Mist in the collections of the Metropolitan and the National Gallery of Art, respectively. Recall Pollock repeatedly talked about, talking about being in the painting both psychologically, and at times, physically. A previous student of mine was a scholar of modern classical music and in early painting classes, perhaps some of you have had this same problem, she's very tentative. She hadn't painted before. She's very gingerly applying paint. We had a de Kooning class and she is slowly pushing paint across the canvas, kind of driving me crazy. And I said, you know, you've got to get into the materials, you need to, you know, get into the viscosity of the paint, the liquidity the paint, and get your hands dirty. Don't be afraid. And she said, okay, I'm really going to go for it. And then she'd move like, you know, a hair faster. And it was a real struggle for me because I couldn't get her to really embrace the materials until we got to Pollock. And again, she was a student of music, listened to a ton of music. And, when she is painting, she started hearing the sound of the splat and the splat on, on the floor. The canvas on the floor, if you will. Hearing pouring paint on the floor and suddenly she started to understand that painting in this way was rhythmical. Not only rhythmical in terms of aural rhythm, your ear, but also optical rhythm. And for me it's a beautiful way into these paintings of 1950. One, Autumn Rhythm and Lavender Mist, because in a way thinking about these things as visual music might sound corny, but in my mind a very, very interesting way to understand why these things are as powerful as they are and I hope I'll convince you of the same thing. Now, to my mind, what we're seeing is electricity. We're seeing paint liberated and it's all over. There's nowhere for your eyes to rest at all. There is, of course, kind of a margin of canvas around the painting but the paint, of course, goes off and suggests that it could continue on infinitely in this very loose spatter of paint around it. Now, aside from music, I think, really, a great way to think about Jackson Pollock in 1950 is to think about Harold Rosenberg and remember his thesis of action painting. Now, Rosenberg wasn't really talking about Pollock as specifically as some other artists, namely de Kooning, but for me this kind of painting is where the canvas is an arena in which to act. This kind of painting is action painting. It's where the gesture recalls its own making. The mark recalls the gesture that created it. In this painting, this paint actually, for me is the residue of that event that encounter between painter and canvas. So, that what you can see is not only the gesture that went into making these things, how the brush moved across the canvas, how the paint poured or splattered or was thrown with a certain amount of velocity in different ways, but also the shuffling feet of Pollock as he moved around the canvas. This rhythmic sensibility that becomes somewhat like music, somewhat like dance, and if you watch the video, I hope you have, of Hans Namuth shooting Pollock, you understand that I'm not the only one thinking this way, that Pollock himself was thinking this way. Pollock was a huge fan of be-bop, and not just be-bop, but specifically be-bop drumming. Some of the most contrapuntal rhythmic stuff ever made by, by man. And, this is the same thing in a way. It's a visual translation of that kind of idea where that punch is everywhere over and over and over and over again. And, what you have are these the very low applications of paint that are dissolved into the canvas ground as the paint is wicked into the canvas support, giving this kind of slow, this kind of heaviness. And then, you have this very thin crackle of this green, this kind of, this aquamarine color over it. At times you have these little, little punches of different color over that. And then, at times you have real, real fast crackle you get the sense of this. The velocity of the paint really launched across the painting. And then very fine mists of color in certain other areas. We have real flickering of the wrist action going on and this kind of game can be played on and on and on. And as you pan across the canvas from left to right, right to left, back and forth, you see this kind of activity is literally everywhere on this canvas. There's not one square inch of the canvas that doesn't demand your attention and doesn't reward your attention because the density of activity is almost unrelenting.