the artist, Springs, N.Y. (until d.1956; his estate, New York, 1956–62); Lee Krasner Pollock, New York (1962–d.1984; her estate, New York, 1984–90; sold to MMA)
New York. The Metropolitan Museum of Art. "Jackson Pollock: Early Sketchbooks and Drawings," October 21, 1997–February 8, 1998, no catalogue.
Bryan Robertson. Jackson Pollock. New York, 1960, pp. 23–24, 97, 105, pl. 82, dates it c. 1935–36; describes it as a Mexican–influenced study merging a human figure and a cross to form a crucifix.
Francis V. O'Connor. "The Genesis of Jackson Pollock, 1912 to 1943." PhD diss., Johns Hopkins University, 1965, p. 180, pl. 43, suggests that this drawing was influenced by Orozco's "Modern Education" and "Christ and His Cross" panels from his Dartmouth murals, noting in particular the similar skeleton and skull motifs.
Francis Valentine O'Connor and Eugene Victor Thaw, ed. Jackson Pollock: A Catalogue Raisonné of Paintings, Drawings, and Other Works. Vol. 3, Drawings, 1930–1956. New Haven, 1978, p. 67, no. 477, ill., date it ca. 1938–39.
Ellen G. Landau. Jackson Pollock. New York, 1989, p. 48, ill. p. 50 (color), dates it ca. 1938–39; claims that the cross in the upper left corner is lifted directly from Orozco's murals at Dartmouth College.
Steven Naifeh and Gregory White Smith. Jackson Pollock: An American Saga. New York, 1989, ill. p. 301, date it 1936–37.
Claude Cernuschi. Jackson Pollock: "Psychoanalytic" Drawings. Exh. cat., Duke University Museum of Art. Durham, N.C., 1992, p. 84, fig. 12.
Ellen G. Landau inSiqueiros/Pollock: Pollock/Siqueiros. Exh. cat., Kunsthalle Düsseldorf. Vol. 2, "Essays/Dokumentation."Cologne, 1995, pp. 40–41, fig. 4, dates it ca. 1938–39.
Lisa Mintz Messinger. "Pollock Studies the Mexican Muralists and the Surrealists: Sketchbook III." The Jackson Pollock Sketchbooks in The Metropolitan Museum of Art. New York, 1997, pp. 62, 64, 81–83, p. 87, no. III19r, states that this drawing reflects Orozco's Dartmouth murals; notes that its the last complete composition in this sketchbook, although smudges on the verso suggest that there may have been another drawing behind it, now lost; relates it to Orozco's "The Franciscan" which Pollock would have seen reproduce in an artical in "Creative Art".
Lisa Mintz Messinger inMen of Fire: José Clemente Orozco and Jackson Pollock. Exh. cat., Hood Museum of Art, Dartmouth College. Hanover, N.H., 2012, pp. 45, 49 n. 21, fig. 75 (color), identifies this drawing as an exact copy of Orzoco's figure of a newborn skeleton seen in profile from the "Gods of the Modern World" panel, and the cross as deriving from the "Modern Migration of the Spirit" panel (both Dartmouth College).
Jackson Pollock (American, Cody, Wyoming 1912–1956 East Hampton, New York)
ca. 1938–39
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