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Fractal analysis of Pollock's drip paintings

Author

Listed:
  • Richard P. Taylor

    (School of Physics, University of New South Wales)

  • Adam P. Micolich

    (School of Physics, University of New South Wales)

  • David Jonas

    (School of Physics, University of New South Wales)

Abstract

Scientific objectivity proves to be an essential tool for determining the fundamental content of the abstract paintings produced by Jackson Pollock in the late 1940s. Pollock dripped paint from a can onto vast canvases rolled out across the floor of his barn. Although this unorthodox technique has been recognized as a crucial advancement in the evolution of modern art, the precise quality and significance of the patterns created are controversial. Here we describe an analysis of Pollock's patterns which shows, first, that they are fractal1, reflecting the fingerprint of nature, and, second, that the fractal dimensions increased during Pollock's career.

Suggested Citation

  • Richard P. Taylor & Adam P. Micolich & David Jonas, 1999. "Fractal analysis of Pollock's drip paintings," Nature, Nature, vol. 399(6735), pages 422-422, June.
    • Handle: RePEc:nat:nature:v:399:y:1999:i:6735:d:10.1038_20833
    DOI: 10.1038/20833
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    Cited by:

    1. Larissa Samaan & Leonie Klock & Sandra Weber & Mirjam Reidick & Leonie Ascone & Simone Kühn, 2024. "Low-Level Visual Features of Window Views Contribute to Perceived Naturalness and Mental Health Outcomes," IJERPH, MDPI, vol. 21(5), pages 1-35, May.
    2. Ausloos, M., 2012. "Measuring complexity with multifractals in texts. Translation effects," Chaos, Solitons & Fractals, Elsevier, vol. 45(11), pages 1349-1357.

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