Untitled (O'Connor-Thaw 771) - Jackson Pollock
Archival giclée
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Description
A dynamic ink drawing by Jackson Pollock, featuring dense, energetic mark-making and abstract forms that reveal the artist's early experimental style.
This work, catalogued as O'Connor-Thaw 771, represents a period in Jackson Pollock's career when his visual language shifted between figurative suggestion and total abstraction. Executed in ink on paper, the composition displays the frantic, energetic mark-making that would eventually define his large-scale drip paintings. The lines are dense, overlapping, and varied in weight, creating a sense of psychological pressure and kinetic movement across the surface.
Pollock's approach here relies on a stream-of-consciousness technique. He builds the image through layers of scribbles, loops, and jagged strokes. While the work lacks a clear subject, one can discern hints of anatomical forms and distorted faces emerging from the chaotic web of ink. This ambiguity is characteristic of his early 1940s output, where he drew heavily from Surrealist automatism and the influence of Jungian archetypes. The lack of a central focal point forces the eye to travel across the entire sheet, engaging with the rhythm of the artist's hand.
As a museum-grade fine art print, this piece captures the raw texture of the original ink application. The contrast between the dark, heavy lines and the negative space of the paper creates a stark, graphic quality. It is a study in controlled disorder, revealing the internal tension present in Pollock's creative process before he fully transitioned to his signature poured technique. This print offers a direct look at the artist's graphic dexterity and his ability to convey emotion through pure line and gesture alone.
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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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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
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- 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
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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
Untitled (O'Connor-Thaw 771) - 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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