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The International Council at
The Museum of Modern Art, New York
JACKSON POLLOCK: 1912-1956
(São Paulo and Europe)

Critical reviews
Page 17

But also the architecturally designed motives clearly indicate how Pollock projects various mental and artistic currents into the common denomination of his own style.  The painting Gothic (1944) - in its technique as lacking in concessions as his later works - reveals the vision of uplifting, striving aspiration for Heaven, in its dark-colored beauty reflecting the idea of a cathedral spire,  White Cockatoo calling to mind Picasso's analytical technique without the Spaniard's "clarté" and the color composition of The Key, a many-sided revelation of the concept; The Flame of 1937 when Pollock still subscribed to the concrete; and finally the gorgeous Male and Female, a lush decorum-exhaling, exuberant, baroque love of life, may be briefly sketched here as significant examples.  They are representative of the whole work, which is of unusual charm because of its color experience and its bold structural and graphic features.

Abandoning everything related to the past and the present, Pollock, a lonely favorite of the gods, created something which, seemingly meaningless, holds a profoundly human and pictorial message.