Editing Jackson Pollock (section)

===Drip period===
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Pollock's most famous paintings were made during the "drip period" between 1947 and 1950. However, when investigating the impact that other artists have had on Pollock and his "drip paintings", the time that Pollock spent working and studying in the Experimental Workshop with David Alfaro Siqueiros in 1936 is rarely investigated or acknowledged. According to Robert Storr, "there is no other experience in his professional life that is equal to the decade that he spent learning from and observing the modern Mexican muralists…," especially when comparing this period of informal training to his formal education with Thomas Hart Benton, which, although critical to his beginnings, was short lived.<ref>[Robert Storr, A Piece of the Action (New York: Museum of Modern Art, 1999-p.35</ref> Additionally, when specifically asked about how the "drip" came to be, Pollock disavowed his association with Siquieros on multiple occasions and made contradictory statements. For example, in 1947, Pollock suggests that he painted his canvases on the floor because he witnessed the Navajo sand artist at the Natural History Museum in New York do it in 1941 (five years after he witnessed Siqueiros do it in 1936), and soon after, he suggested that he painted his canvases on the floor because "the Oriental’s did it".<ref>Robert Storr, A Piece of the Action (New York: Museum of Modern Art, 1999, p.57–58)</ref> Eventually, Pollock became famous from his "drip" paintings, and on August 8, 1949, in a four-page spread in ''[[Life (magazine)|Life]]'' magazine, he was asked, "Is he the greatest living painter in the United States?" Thanks to the mediation of [[Alfonso A. Ossorio|Alfonso Ossorio]], a close friend of Pollock, and the art historian [[Michel Tapié]], the young gallery owner [[Paul Facchetti]], from March 7, 1952, managed to realize the first exhibition of Pollock's works from 1948 to 1951<ref>{{Cite book|title=Jackson Pollock|last1=Tapié|first1=Michel|last2=Ossorio|first2=Alfonso|publisher=Paul Facchetti|year=1952|location=Paris|pages=8|oclc = 30601793}}</ref> in his Studio Paul Facchetti in Paris and in Europe.<ref>Documents and lists of works from the exhibition can be found in the Facchetti Archives with his son [[Jean-Paul Agosti]] and in the Kandinsky Library in the Archives of the [[Centre Pompidou]], Paris.</ref> At the peak of his fame, Pollock abruptly abandoned the drip style.<ref>{{cite web|url=http://www.artnet.com/magazineus/features/saltz/saltz9-18-06.asp |title=The Tempest|author = Jerry Saltz |format = reprint|publisher=Artnet.com |access-date=August 30, 2009}}</ref> Pollock's drip paintings were influenced by the artist [[Janet Sobel]]; the art critic Clement Greenberg would later report that Pollock "admitted" to him that Sobel's work "had made an impression on him."<ref>{{Cite news |last=Grovier |first=Kelly |title=Janet Sobel: The woman written out of history |url=https://www.bbc.com/culture/article/20220307-janet-sobel-the-woman-written-out-of-history |access-date=2022-03-10 |website=BBC |date=March 8, 2022 |language=en}}</ref>

Pollock's work after 1951 was darker in color, including a collection painted in black on unprimed [[canvas]]es. These paintings have been referred to as his "Black pourings" and when he exhibited them at the [[Betty Parsons Gallery]] in New York, none of them sold. Parsons later sold one to a friend at half the price. These works show Pollock attempting to find a balance between abstraction and depictions of [[Figure painting|the figure]].<ref>William Cook, [http://www.bbc.co.uk/programmes/articles/5BNv7H97g3SpczrK56dHngF/jackson-pollocks-forgotten-bleak-masterpieces-the-30-year-wait-for-black-pourings-exhibition "Jackson Pollock's forgotten bleak masterpieces: The 30-year wait for 'black pourings' exhibition"], BBC — Arts, June 30, 2015. Retrieved July 8, 2015.</ref>

He later returned to using color and continued with figurative elements.<ref name="bio">{{cite web |url=http://www.jackson-pollock.com/biography.html |title=Biography |access-date=September 28, 2007 |publisher=Jackson-pollock.com}}</ref> During this period, Pollock had moved to the [[Sidney Janis Gallery]], a more commercial gallery; the demand for his work from collectors was great. In response to this pressure, along with personal frustration, his alcoholism deepened.<ref>[http://www.jackson-pollock.com/downfall.html "Downfall of Pollock"], Jackson Pollock website. Retrieved July 23, 2010.</ref>