Reflection of the Big Dipper Analysis

Freshman (College 1st year) ・Art ・APA ・4 Sources

Artwork "Reflection of the Big Dipper"

Artwork "Reflection of the Big Dipper" is a mixture of paint layers dripped with enamel as the concluding composition on its final touch. It was developed by Jackson Pollock in 1947. It involved the use of stick brushes, knives and trowels and adding overseas matter such as coins, nails, paint tube tops, broken glass and bottle caps to its canvasses. From this radicalized decision, Pollock software of paint became his main theme. The work of Pollock's grew to become a transitional step between his revolutionary dripping technique of paint being dripped to canvasses on a massive scale and differentiated from its traditional handling of paint. The hundreds of tiny droplets of color scattered across the floor shall always remind Pollock of the long clear night sky (O'Connor et al., 1978).

Abstract Expressionism fans will be drawn to Jackson Pollock's big dipper painting

Abstract Expressionism fans will be drawn to Jackson Pollock's big dipper painting. Works done during this period in his life include Shimmering Substance and Eyes in The Heat. It is recognized that abstract drip paintings executed by Jackson Pollock's in 1947 opened a way to the bolder, gestural technique that embraces action paintings. The de Kooning vigorous brushstrokes that began in the early 1950s led to emotive richly expressive styles. Throughout the 1950s, the abstract expressionism became the most influential art movement during the periods of the time in the United States. Later on, the movement leadership shifted to color-field and abstract imagist painters, in whose 1960s followers rebelled against its irrationality regarding action painters (Taylor et al., 2007).

The Big Dipper painting and its significance

The Big Dipper painting was carried out in 1947 when Mahatma began his quest for peace. Viewers will be taken on the journey as well by Pollock's, through space and time using masterful strokes. To some, action painting is confusing while to others; it signifies pure freedom of movement. The brush contains strokes expected to lead the eye towards a specific direction. For example, by gazing at the sky, we become captivated by raw power evident in them. The dark color spots in paintings by Pollock's recall the depth of the sky at night. In winter or summer, the Big Dipper stands out. It is a juxtaposed raw energy against possibilities that are endless. The artists accurately reflect the inner journey own paintings. He hopes each viewer will take it as their own with actions and events standing out (Naifeh & Smith, 1984).

The impact of the paintings

Due to the impact of the paintings on us, some will be more vivid in our memories and some brighter than others because of the impact they have on us. The pattern becomes beautiful for us to see. They appear in a way that makes an impression more remarkable and hopeful on others and us while remaining significantly disconnected. The Big Dipper is an abstract painting that comes from the subconscious. It is uninhabited and raw. Why Pollock chose to express himself using these theme remains a mystery. However, it has remained and inspired many throughout the millennia (Pollock, 1947).


When using the Big Dipper, various individuals have contemplated the vastness of the sky at night on their journey home and help them locate their homes and directions. During periods of turmoil, we can reflect on the beautiful spots of our past and help steer other people towards a brighter future.


Naifeh, S., & Smith, G. W. (1984). Jackson Pollock. Ann Arbor: UMI Research Press, 345, 58.
O'Connor, F. V., & Thaw, E. V. (Eds.). (1978). Jackson Pollock: A catalogue raisonné of paintings, drawings, and other works. Yale University Press.
Pollock, J. (1947). My painting. Jackson Pollock: Interviews, Articles, and Reviews, 17-18.
Taylor, R. P., Guzman, R., Martin, T. P., Hall, G. D. R., Micolich, A. P., Jonas, D., ... & Marlow, C. A. (2007). Authenticating Pollock paintings using fractal geometry. Pattern Recognition Letters, 28(6), 695-702.

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