Number 4 (Gray and Red) - Jackson Pollock
Archival giclée
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Description
A 1948 drip painting by Jackson Pollock, featuring a complex web of grey, black, and red lines on a neutral ground.
Produced in 1948, Number 4 (Gray and Red) is a characteristic example of the drip technique developed by Jackson Pollock. By placing his canvas on the floor, Pollock moved away from traditional easel painting, allowing him to apply paint from all sides. This physical engagement with the surface records the movement of the artist, creating a web of lines that lack a single centre of focus.
The composition relies on the interplay between thin, fluid lines and heavier, pooled deposits of paint. Pollock utilised industrial enamel alongside traditional oil paints, which provided a different viscosity and drying time. The palette is restricted to grey, black, and red against a neutral ground, which allows the viewer to concentrate on the velocity and direction of the marks. The absence of figurative elements forces an engagement with the material qualities of the paint itself.
This work belongs to a period when Pollock was refining his approach to non-representational art. The lines do not describe forms or objects, but rather trace the path of the artist's gestures. The density of the marks varies across the canvas, creating areas of relative openness and sections of high activity. The lack of a traditional horizon or perspective creates a flat, all-over composition that occupies the viewer's field of vision. By removing the distinction between figure and ground, Pollock created a space where the act of painting is the primary subject. This print captures the specific textures and tonal variations of the original, maintaining the clarity of the individual drips and splatters.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Number 4 (Gray and Red) - Jackson Pollock
Artist Biography
Jackson Pollock
He drank heavily from his teens onwards. He was in and out of psychiatric treatment, tried Jungian analysis, and spent time working for the WPA Federal Art Project during the Depression. The early paintings are dark, tangled, influenced by Picasso and by the Mexican muralists Orozco and Siqueiros, whose experimental techniques (including pouring paint) Pollock encountered in a workshop.
The drip paintings started in 1947. He laid canvas on the floor of his barn in Springs, Long Island, and poured household enamel paint from tins, flicking and dripping it with sticks, trowels, and hardened brushes. He moved around the canvas, working from all four sides. No easel, no brushes touching surface, no predetermined composition. 'I am nature,' he told an interviewer, which sounds grandiose but describes the method accurately: the paintings record physical movement through space.
The drip period lasted roughly four years. By 1951 he had largely stopped, returning to figurative work that nobody wanted. His marriage to the painter Lee Krasner deteriorated alongside the drinking. He died in a car crash in 1956, at forty-four, drunk at the wheel. Krasner spent the next three decades managing his legacy and making her own paintings, which were excellent and consistently overlooked.
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