Composition with Pouring II

(1943)

Jackson Pollock, American, b. Cody, Wyoming, 1912–1956

Oil on canvas, 25 1/8 × 22 1/8 in. (63.9 × 56.3 cm)

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966

Accession Number: 66.4082

Provenance:
Art of this Century, New York, to 1945
Dwight Ripley, (New York?), 1945-1961
(Anthony Bower, New York, to 7 January 1961) **
M. Knoedler & Co., New York, 7 January-5 May 1961
Joseph H. Hirshhorn, New York, 5 May 1961-17 May 1966
Gift of Joseph H. Hirshhorn, 1966
**Note: Per note from M. Knoedler, the gallery acquired the painting from Anthony Bower outright on 7 January 1961. However, a signed and notarized statement from Dwight Ripley indicates that he owned the painting until 1961. Bower may have been acting as an agent for Ripley, but this is speculation.

Exhibition History:
ART OF THIS CENTURY, New York. First Exhibition-- Jackson Pollock, Paintings and Drawings, 9-27 November 1943, no. 10-15 (?).
MUSEUM OF MODERN ART, New York. Dada, Surrealism, and Their Heritage, 27 March-9 June 1968, no. 273, p. 176-177. TOUR: LOS ANGELES COUNTY MUSEUM OF ART, 16 July-8 September 1968; ART INSTITUTE OF CHICAGO, 19 October-8 December 1968.
CENTRE GEORGES POMPIDOU, MUSEE NATIONAL D'ART MODERNE, Paris. Jackson Pollock, 21 January-10 May 1982, p. 116. TOUR: STADELSCHES KUNSTINSTITUT and STADISCHE GALERIE, Frankfurt am Main, May-31 July 1982 (Paris venue extended).
MUSEE CANTINI, MUSEE DES BEAUX-ARTS, Marseille. La Planete Affolee, 12 April-6 July 1986, no. 271.
KUNSTMUSEUM, Bern, Switzerland. LeeKrasner--Jackson Pollock, 21 November 1989-4 February 1990, no. 30, p. 109.
KUNSTHALLE DUSSELDORF, Dusseldorf. Siqueiros/Pollock, 30 September-3 December 1995, p. 198-199.
SOLOMON R. GUGGENHEIM MUSEUM, New York. Abstraction in the 20th Century: Total Risk, Freedom, Discipline, 8 February-2 June 1996, no. 105, p.100.
MUSEUM OF MODERN ART, New York. Jackson Pollock: A Retrospective, 1 November 1998-2 February 1999, no. 62. TOUR: TATE GALLERY, London, 11 March-6 June 1999.
MUSEE DES BEAUX ARTS, Bordeaux, France. Made in the USA: L'Art Americain 1908-1943, 5 October-31 December 2001, p.239. TOUR: MUSEE DES BEAUX ARTS, Rennes, France, 17 January- 31 March 2002; MUSEE DES BEAUX ARTS, Montpellier, France, 10 April-25 June 2002.
NATIONAL ACADEMY OF DESIGN, New York. "Surrealism USA," 10 February - 8 May 2005. TOUR: PHOENIX ART MUSEUM, AZ, 3 June - 25 September 2005; TOLEDO MUSEUM OF ART, OH, October 2005 - January 2006.
POLLOCK-KRASNER HOUSE & STUDY CENTER, East Hampton, New York. "Jackson Pollock: Small Poured Works, 1943-1950," 3 August-17 September 2006, fig. 6, p. 7; ill. p. 30.
AICHI PREFECTURAL MUSEUM OF ART, Nagoya, Japan. "Jackson Pollock: A Retrospective," 11 November 2011-22 January 2012. TOUR: NATIONAL MUSEUM OF MODERN ART, Tokyo, Japan, 10 February-6 May 2012.

Published References:
PEGGY GUGGENHEIM PAPERS, Archives of American Art, Smithsonian Institution,
Washington D.C. Microfilm Roll no. ITVE1, Frames 129-131.
RUBIN, WILLIAM. "Jackson Pollock and the Modern Tradition," Artforum 5 (May
1967) p. 30-32, ill.
SANDLER, IRVING. "Dada, Surrealism and their Heritage: The Surrealist Emigres in
New York," Artforum 6 (May 1968): p. 28, ill.
O'CONNOR, FRANCIS VALENTINE and EUGENE VICTOR THAW. Jackson
Pollock: A Catalogue Raisonne of Paintings, Drawings and Other Works Vol. 1 (New Haven, CT: Yale University Press, 1978) no. 94.
FRANK, ELIZABETH. Jackson Pollock (New York: Abbeville Press, 1983) no. 35, p.
46-7.
ATHEARN, ROBERT G. American Heritage Illustrated History of the United States
Volume 16: Decades of Cold War (New York: Choice Publishing, 1988) p. 1366.
LANDAU, ELLEN G. Jackson Pollock (New York: Harry N. Abrams, 1989) p. 148-9.
UNSIGNED. "Jackson Pollock," Art (Swiss/Austrian) 10 (October 1990) p. 44.
CERNUSCHI, CLAUDE. Jackson Pollock: Meaning and Significance (Icon Editions, c.
1991) no. 11, p. 97.
POLICARI, STEPHEN. Abstract Expressionism and the Modern Experience
(Cambridge: Cambridge University Press, 1991) fig. 185. p. 248.
UNSIGNED. Paintings Beyond Painting: 20th Century III (Tokyo: Kodansha, 1993) no.
5-17.
UNSIGNED. Contemporary Great Masters (Tokyo: Kodansha, 1994) no. 73.
HARTEN, JURGEN. Siqueiros/Pollock (Dusseldorf: Dumont, 1995) p. 198-199.
ROSENTHAL, MARK. Abstraction in the 20th Century: Total Risk, Freedom, Discipline
(New York: Solomon R. Guggenheim Foundation, 1996) no. 105, p.100.
SPRING, JUSTIN. The Essential Jackson Pollock (New York: Wonderland Press/Harry
N. Abrams, 1998) p. 4.
VARNEDOE, KIRK with PEPE KARMEL. Jackson Pollock (New York: Museum of
Modern Art, 1998) no. 62, p. 172.
SIEGEL, JEANNE. Painting After Pollock: Structures of Influence (Canada: G & B Arts
International, 1999) p. 40.
GILMORE, JONATHAN. The Life of a Style: Beginnings and Endings in the Narrative
History of Art (Ithaca, NY: Cornell University Press, 2000).
DE CHASSEY, D'ERIC. Made in USA: L'art Americain 1908-1947 (Paris: Reunion des
Musees Nationaux, 2001) p. 239.
FAILING, PATRICIA. Do the 'Matter Paintings' Matter? (Art News: November, 2007) p.146.

Hirshhorn Museum and Sculpture Garden Collection, Abstract Expressionism (First Generation)