Autumn Rhythm (Number 30)
1950 · Metropolitan Museum of Art, New York
Pollock worked on the floor and moved around the canvas instead of standing at an easel, laying black enamel across raw cotton in 1950.
★ 8.6
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1950s
1950 – 1959
Showing 17 artworks from the 1950s
Number 11, 1952 (Blue Poles)
1952 · National Gallery of Australia, Canberra
Eight ragged dark blue poles lean across the poured web and give it a beat. Australia's purchase in 1973 caused a national row.
★ 8.0
Study After Velazquez's Portrait of Pope Innocent X
1953 · Des Moines Art Center, Des Moines
Bacon took Velázquez's composed pope and set him screaming behind a curtain of falling paint. He never saw the original in person.
★ 7.8
Woman I
1950 · Museum of Modern Art, New York City
De Kooning dragged the figure back into abstract painting at the moment that was least acceptable, and worked this canvas over for two years.
★ 7.7
Three Flags
1954 · Whitney Museum of American Art, New York City
Johns chose things the mind already knows, so that nobody would look past the wax surface. Three flags stacked, each smaller than the last.
★ 7.4
Golconde
1953 · The Menil Collection, Houston
Men in bowler hats hang in the sky over the rooftops at even intervals, neither falling nor floating, which is somehow the unsettling part.
★ 7.2
Excavation
1950 · Art Institute of Chicago, Chicago
Hooks and curves fill the canvas edge to edge with no center to rest on, and teeth and jaws keep surfacing out of the mass.
★ 7.2
Blue Nude II
1952 · Centre Pompidou, Paris
Matisse was too ill to stand at an easel, so he cut the figure out of painted paper and called it drawing with scissors.
★ 7.1
Convergence
1952 · Albright-Knox Art Gallery, Buffalo
Black, white, red and blue flung edge to edge with nowhere for the eye to settle. The Cold War made it a symbol of American freedom.
★ 7.1
Orange and Yellow
1956 · Albright-Knox Art Gallery, Buffalo
Two rectangles with feathered edges, built from thin washes so the color seems lit from behind rather than laid on.
★ 6.9
Rooms by the Sea
1951 · Private collection
A door opens straight onto the water with no shore in between, and the only other thing in the picture is sunlight on a wall.
★ 6.6
The Sacrament of the Last Supper
1955 · National Gallery of Art, Washington, District of Columbia
The room is a twelve-sided glass chamber and a torso hovers over the table. Dalí called this sort of thing nuclear mysticism.
★ 6.5
La Mariee (The Bride)
1950 · Private collection
A bride in red floats through the blue night with a goat playing a cello beside her. Many people know it from a film.
★ 6.1
Painting Number 2
1954 · Museum of Modern Art, New York City
Black bars crossing a white ground, enlarged from small ink sketches so the speed and weight of the arm survive the scaling up.
★ 5.2
The Disintegration of the Persistence of Memory
1954 · Salvador Dali Museum, St. Petersburg, Florida
Dalí went back to his own melting watches and broke the ground beneath them into floating bricks, for the atomic age.
★ 5.2
Fragment of a Crucifixion
1950 · Van Abbemuseum, Eindhoven
Bacon used the shape of the cross as an armature for meat rather than religion, with a snarling animal fixed on top.
★ 4.8
Mediterranean Landscape
1952 · Albertina, Vienna
The whole coast reduced to a few flat zones of color and some quick line. Picasso old, settled in the south, and enjoying himself.
★ 4.4