Significant Form and Jackson Pollock

             When you are presented with art, it can elicit an emotional response, but what if there is a higher “aesthetic emotion” where the spectator views and analyzes art forms with a focus on lines, shapes, color, and form. 18^th-century British art critic Clive Bell (1881-1964) argues in his theory of the significant form that the spectator must detach themselves from the common emotional responses to reach an ideal “aesthetic emotion.”  Common emotion can cloud the viewer’s mind, which Bell argues doesn’t allow for a clear view of the art form. Bell argues, “We need to bring with us nothing from life. No knowledge of its ideas and affairs, no familiarity with its emotions… for a moment we are shut off from the human interests…” (McLaughlin, 1977, p.443). This allows for a clearer and purer view of art. In relation to Plato and Aristotle, Bell deters from emotional response to a more intellectual approach. While Plato advocated for banning art in general as a poor imitation of the natural world, Bell argues for appreciating art in form, shape, line, and colors.

 

Jackson Pollock’s painting “No. 5“(1948) is a great example to view using Bell’s theory of significant form. The painting is abstract and nonrepresentational and focuses on the act of splattering layers of paint on a canvas with an array of colors that create a dynamic composition. The painting is about the experience of painting it. It captures the action and energy of spontaneous creation. Pollock’s usage of naming his paintings after a number helps limit the emotional response to the painting. The imagery isn’t blatant with emotional context but suggestive in the dynamic drip splatters across the composition. A gambit of light and dark colors mixes and overlaps, showing contrast and depth. The energy of creation is transmuted into a display of dynamic form that almost appears to be buzzing. Removing the viewer’s normal emotional responses allows for an aesthetic emotion and a higher understanding of the art form. While this painting was fueled by the inner emotions of the artist in a spontaneous display of creativity, the abstract nature of the composition captures the essence but creates a detached environment where the emotion is shown in lines, form, color, and shape.

                                                           Jackson Pollock " No. 5" (1948)

                               

                                       Reference

McLaughlin, T. M. (1977). Clive Bell’s Aesthetic: Tradition and Significant Form. Journal of Aesthetics & Art Criticism, 35(4), 433. https://doi.org/10.2307/430609