Fine Art Poster
From $39
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Ocean Greyness - Jackson Pollock
Regular price
$39.00 USD
Sale price
$39.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A 1953 abstract work by Jackson Pollock, featuring dense, gestural brushwork and a monochromatic palette with subtle hints of colour.
Ocean Greyness, painted in 1953, represents a shift in the later career of Jackson Pollock. While his earlier work is defined by the famous drip technique, this piece displays a return to more controlled, gestural brushwork. The canvas is dominated by a dense, monochromatic field of grey, black, and white, which provides a turbulent background for the emerging forms.
Within this grey field, Pollock embeds circular and oval shapes that suggest organic or primordial structures. These forms are outlined in black and filled with touches of yellow, red, and white. The application of paint is thick and tactile, creating a surface that feels both agitated and deliberate. The title itself suggests the atmospheric quality of the sea, yet the work remains firmly rooted in the non-representational tradition of the New York School.
Unlike the all-over compositions of his earlier period, Ocean Greyness possesses a sense of internal structure. The eye is drawn to the central clusters of colour, which appear to float or drift within the surrounding grey mass. This work demonstrates Pollock's ability to manipulate paint to create depth and movement without relying on traditional perspective. It is a study in the balance between chaos and order, showing the artist moving away from the pure spontaneity of his drip paintings toward a more considered, painterly approach. The texture of the paint, combined with the interplay of light and shadow, gives the work a physical presence that commands attention. It remains a significant example of the transition occurring in American art during the early 1950s, as artists began to re-examine the relationship between the canvas surface and the act of painting itself.
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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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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
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
Complete The Look
Ocean Greyness - Jackson Pollock
Regular price
From $39.00 USD
Sale price
From $39.00 USD
Regular price
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Jackson Pollock
Pollock grew up in Arizona and California, the youngest of five brothers. His father left when he was eight. Two of his brothers were already studying art, and he followed them to the Art Students League in New York at seventeen, where he worked under Thomas Hart Benton. Benton painted muscular American regionalist scenes: cowboys, farmhands, rolling landscapes. Pollock absorbed the energy and rejected the subject matter.
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.
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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Fine Art Framed
From $119
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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