‘ART’: What Pollock Learned from Hayter

Experimental prints made by Jackson Pollock in Stanley William Hayter’s Atelier 17 in 1944–45 were crucial to the evolution of his modernist style, an evolution quite different from Clement Greenberg’s conception of it. Hayter said “Pollock always claimed that he had two masters, Benton and me.” Following Charles Darwent’s Surrealists in New York: Atelier 17 and the Birth of Abstract Expressionism 2023 and Christina Weyl’s The Women of Atelier 17 2019, this article examines a 1944–45 engraving in which Pollock inscribed the letters A, R, T. This examination reveals the experimental techniques and the gendered themes that shaped Pollock’s continued exploration of his art as erotic dialogue. Absorbing Hayter’s technical understanding of the three-dimensionality of an engraved line as it produced and moved through “the space of the imagination,” Pollock succeeded in mediating between male and female tensions, stated in underlying imagery, as he began in ‘ART’ to generate his abstract and unifying all-over linear webs, culminating in such works as Autumn Rhythm 1950.