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Sea Change

Date1947
Maker Jackson Pollock American, 1912-1956
Label TextSea Change was painted at a transitional moment in Pollock’s career. In 1947, the dripping technique he occasionally exploited as a compositional element became his dominant method. Pollock had begun this work in 1946 as an easel painting executed with a brush, using vivid blues and pinks. In 1947, he laid the unfinished painting on his studio floor, transforming it with scattered gravel, dripped aluminum and glossy black house paint. If we typically think of Pollock’s technique as a violent, instant manifestation of “expression,” Sea Change makes us reconsider. Recent analysis and conservation reveals that he carefully preserved parts of the original composition, obscured others with dripped paint, and finally balanced the forms with precisely placed blobs of pure color squeezed straight from the tube. Sea Change embodies the artist’s intent to create an entirely new visual idiom.
Sea Change, 1947, was created at the beginning of Jackson Pollock's most iconic period: the "drip-period," from 1947 to 1950. The painting was owned by the art dealer and patron Peggy Guggenheim until its donation to SAM in 1958.

Jackson Pollock is perhaps the best known abstract expressionist painter from the 1940s and 1950s. His painterly style was labeled "action painting" in reference to the electric energy and movement contained in his canvases. His life and work were captured in Hans Namuth's classic 1951 film and featured in interviews published in Life (1949) and Time (1956) magazines. In 1942, Pollock was introduced to Peggy Guggenheim, who played a pivotal role in launching his career. Guggenheim offered Pollock a monthly stipend in exchange for works of art that she would own and exhibit in her gallery (his first show there, at Art of This Century, was in 1943). In 1945, Pollock married fellow painter Lee Krasner and moved to a cottage-studio in Springs, Long Island, where this work was created. He painted furiously for over a decade, altering the course of modern art in the process, before dying tragically in a car crash at age 44. His untimely death, coupled with his signature artistic achievement, catapulted him to mythical stardom.
Object number58.55
ProvenanceThe artist; to Art of this Century, New York / Collection of Peggy Guggenheim, New York and Venice (in stock of gallery when it closed, sent to Ms. Guggenheim in Venice by Betty Parsons, 1948); to Seattle Art Museum, Seattle, Washington, 1958
Photo CreditPhoto: Eduardo Calderón
I like to use dripping, fluid paint. I also use sand, broken glass, pebbles, string, nails or other foreign matter…. I want to express my feelings rather than illustrate them.
Jackson Pollock speaking in Hans Namuth's film, <i>Jackson Pollock</i>, 1951
Exhibition HistoryNew York, New York, Betty Parsons Gallery, Jackson Pollock, 1948. New York, New York, Solomon R. Guggenheim Museum, 1950. Cat. no. 22. Milan, Italy, Galleriea d'Arte del Naviglio, Jackson Pollock, 1950. New York, New York, Solomon R. Guggenheim Museum, 1951. Cat. no. 148. Seattle, Washington, Seattle Art Museum, Contemporary Trends in International Art, Apr. 7 - May 1, 1955. New Directions in American Painting, organized by the Poses Institutes of Fine Arts, and Rose Art Museum, Brandeis University (Utica, New York, Muson-Williams-Proctor Institute, Dec. 1, 1963 - Jan. 5, 1964; New Orleans, Louisiana, Isaac Delgado Museum of Art, Feb. 7 - Mar. 8, 1964; Atlanta, Georgia, Atlanta Art Association, Mar. 18 - Apr. 22, 1964; Louisville, Kentucky, J.B. Speed Art Museum, May 4 - June 7, 1964; Bloomington, Indiana, Indiana University Art Museum, June 22 - Sept. 20, 1964; St. Louis, Missouri, Washington University, Oct. 5 - 30, 1964; Detroit, Michigan, Detroit Institute of Arts, Nov. 11 - Dec. 6, 1964). Text by Sam Hunter. Cat. no. 43, reproduced. Boston, Massachusetts, Institute of Contemporary American Art, Painting Without a Brush, 1965. Washington, D.C., Washington Gallery of Modern Art, Twentieth Century Painting from Collections in the State of Washington, (dates not recorded) 1966 (Seattle, Washington, Seattle Art Museum Pavilion, Dec. 8, 1966 - Jan. 8, 1967). Tacoma, Washington, Tacoma Museum of Art, Inaugural Exhibition of the Tacoma Art Museum, 1971. Seattle, Washington, Seattle Art Museum, American Art, Third Quarter Century, Aug. 23 - Oct. 14, 1973. Text by Jan van der Marck. Cat. no. 51, reproduced p. 8. Vancouver, British Columbia, Vancouver Art Gallery, The Seattle Art Museum Lends, Mar. 13 - Apr. 11, 1976. No cat. no., reproduced. Seattle, Washington, Seattle Art Museum, Collection Highlights: 1945 To The Present, Sept. 12, 1996 - June 1, 1997. New York, New York, Museum of Modern Art, Jackson Pollock, Nov. 4, 1998 - Feb. 16, 1999. Seattle, Washington, Seattle Art Museum, Anne Gerber Biennial: 2000 1/2, Going Forward Looking Back, May 8 - Aug. 4, 2000. Venice, Italy, Musei Civici of Venice, Jackson Pollock, Mar. 23-July 15, 2002. Seattle, Washington, Seattle Art Museum, Mark Tobey: Smashing Forms and Mark Tobey and Friends, Nov. 16, 2002 - Apr. 6, 2003. Seattle, Washington, Seattle Art Museum, International Abstraction: Making Painting Real, May 2, 2003 - Feb. 29, 2004. Seattle, Washington, Seattle Art Museum, Modern in America, July 8, 2004 - Feb. 27, 2005. Seattle, Washington, Seattle Art Museum, Modernism and Craft, Part 1, Mar. 16, 2013 - Mar. 16, 2014.Published ReferencesThe Art Quarterly, Autumn 1956, p. 311. The Art Quarterly, Autumn 1958, p. 329. "Selected Works." Seattle, Washington: Seattle Art Museum, 1991, p. 119. Young, Tara Reddy. ContemporaryArtProject. Exh. Cat. Seattle, Washington: Seattle Art Museum, 2002; p. 13, reproduced fig. 1 [not in exhibition]. McClusky, Pamela. Art from Africa: Long Steps Never Broke A Back. Exh. Cat. Seattle, Washington: Seattle Art Museum, 2002; p. 20, reproduced fig. 3 [not in exhibition]. Kangas, Matthew, et al. Figure to Field: The Art of Jacqueline Barnett. La Conner, Washington: Museum of Northwest Art, 2016; pp. 16-17, reproduced p. 17. Williamson, Beth. Between Art Practice and Psychoanalysis Mid-Twentieth Century: Anton Ehrenzweig in Context." Burlington, Vermont: Ashgate Publishing Company, 2015, fig. 7.2, p. 19.
Credit LineGift of Signora Peggy Guggenheim
Dimensions57 7/8 x 44 1/8 in. (147 x 112.1 cm)
MediumArtist and commercial oil paint, with gravel, on canvas
Number 20
Jackson Pollock
1949
Object number: 2002.66
Photo: Spike Mafford / Zocalo Studios. Courtesy of the Friday Foundation
Jackson Pollock
1951
Object number: 2020.14.13
Northwest Salmon Fishermen
Rudolph Franz Zallinger
1941
Object number: 43.34
Northwest Set-Up -  Sea of Cortez
1977
Object number: 97.92
Robert Rauschenberg
1960
Object number: 2014.25.62
Photo: Elizabeth Mann
Emilio Amero
1940
Object number: 96.44
Photo: Scott Leen
Joan Mitchell
1988, printed 1989
Object number: 2022.7