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Jackson Pollock | Autumn Rhythm (Number 30) | The Met

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“Seems madam? Nay it is, I know not seems.” - Hamlet (I.ii.76)

In this line, Hamlet expresses the genuine nature of his grief for his father’s passing. Gertrude questions the legitimacy of his mourning and Hamlet, offended, retorts that he is not merely acting or “seeming” but “is”, suggesting that he feels real remorse in regards to his father and finds it contrary to his sensibilities for his mother to suggest otherwise. This reveals the complexity of the emotions he is feeling from the very beginning of the play, which only serve to heighten his frenzied nature later on. Autumn Rhythm (Number 30) by Jackson Pollock conveys similar tones of complexity and an ever changing nature, much like Hamlet’s emotional turmoil. By incorporating various objects and techniques thus far foreign to the art world, Pollock affords depth to his painting, representing motion and fluidity and alluding to the inherent aspects of the human mind. Additionally, the muddy colors in Autumn Rhythm serve again to parallel Hamlet’s current mental state, being grief-stricken and feeling increasingly fettered by Claudius, amongst others. The brown and greyscale paint mirrors how bleak of an outlook Hamlet has developed since the death of his father, reiterating the sincerity of his feelings towards his father’s untimely demise.

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Robert M. Coates. "The Art Galleries: Extremists." New Yorker (December 9, 1950), p. 110, notes that all of the works in Exh. New York 1950 are only identified by numbers, which "makes referencing them a bit dull"; criticizes no. 30 [this work] as an example of the overall composition suffering at the expense of "a clutter of more or less meaningless embellishment".

Robert Goodnough. "Pollock Paints a Picture." Art News 50 (May 1951), pp. 40-41,60-61, ill., incorrectly calls this painting "Number 4, 1950"; chronicles its creation from beginning to end, documented in photographs by Hans Namuth.

"Fashion: Spring Ball Gowns." Vogue 117 (March 1, 1951), ill. pp. 156-59 (Cecil Beaton photographs, background for fashion spread, color).

Dore Ashton. "Art." Arts and Architecture 73 (January 1956), p. 10.

Sam Hunter. Jackson Pollock. Exh. cat., Museum of Modern Art, New York. New York, 1956, p. 12, 35, no. 26 (also published in the "Bulletin of the Museum of Modern Art, vol. 24, no.2).

Robert Beverly Hale. "The American Moderns." Metropolitan Museum of Art Bulletin 16 (Summer 1957), p. 27, ill.

Sam Hunter. Pollock. Exh. cat., The International Council at the Museum of Modern Art, New York. New York, 1957, unpaginated, states that Pollock achieved a full state of freedom in this work.

Thomas B. Hess. "For Spacious Skies, and All That." Art News 56 (November 1957), fig. 7.

J[ames]. J. R[orimer]. "Notes." Metropolitan Museum of Art Bulletin 16 (Summer 1957), unpaginated.

Sam Hunter. Jackson Pollock 1912-1956. Exh. cat., Whitechapel Gallery , organized by The International Council at the Museum of Modern Art, New York. London, 1958, p. 12, states that this painting was recently acquired by the MMA and was therefore not available for inclusion in this exhibition.

Allan Kaprow. "The Legacy of Jackson Pollock." Art News 57 (October 1958), ill. p. 24 (installation photo), states that the MMA purchased this painting for a record $30,000.

John Canaday. Mainstreams of Modern Art. New York, 1959, p. 189, pl. 213, calls it "Autumn Rhythm"; comments that Monet's late waterlily pictures anticipate Pollock's drip technique.

Frank O'Hara in Peter Selz. New Images of Man. Exh. cat., Museum of Modern Art, New York. New York, 1959, p. 123, states that works such as this one are "more obviously astonishing inventions" than Pollock's later black and white paintings of 1951.

Frank O'Hara. Jackson Pollock. New York, 1959, pp. 14, 26, 30, colorpl. 50.

Sam Hunter. Modern American Painting and Sculpture. New York, 1959, p. 150.

Alfred Frankfurter. "Midas on Parnassus." Art News Annual 28 (1959), p. 61, ill. p. 49 (color), calls it "Autumn Rhythm".

Dorothy Seiberling. "Baffling U.S. Art: What It Is About." Life 47 (November 9, 1959), pp. 68-69, ill. (color; installation view of its examination by James R. Rorimer, then director of MMA), calls this painting's composition "costly clottings"; quotes Rorimer describing it as "challenging, timely, and exciting".

Bryan Robertson. Jackson Pollock. New York, 1960, pp. 20, 102, 138 pl. 153, describes Pollock's use of colors in this work as "atmospheric" and relates them to the cool winter landscapes around the artist's home in East Hampton.

Daniel M. Mendelowitz. A History of American Art. 1st ed. New York, 1960, p. 600, fig. 21-9.

Irving Lavin. "Abstraction in Modern Painting: A Comparison." Metropolitan Museum of Art Bulletin 19 (February 1961), pp. 166-69, fig. 2, provides a detailed description of the process in making this picture, surmising it took "six hours of actual painting time to execute this picture"; calls it "a landscape at a particular season" but considers the title to be "all but inconsequential, if not actually accidental"; compares it to Joseph Stella's "Spring" (1914, Yale University Art Gallery).

Clement Greenberg. "The Jackson Pollock Market Soars." New York Times (April 16, 1961), ill. p. SM43.

Richard H. Rush. Art as an Investment. Englewood Cliffs, N.J., 1961, ill. p. 93.

John Ives Sewall. A History of Western Art. 2nd rev. ed [1st ed. 1953]. New York, 1961, p. 903, fig. 17.30.

Burne Hogarth. "Outline of American Painting: American Leadership of World Art (1945-1962)." American Artist 26 (June-July-August 1962), ill. p. 123, calls it "Autumn Rhythm".

John McCoubrey. American Tradition in Painting. New York, 1963, p. 116, pl. 59.

Henry Geldzahler. American Painting in the Twentieth Century. New York, 1965, p. 186, ill. pp. 184-85, comments that over the years, this painting "has changed for many viewers from the arbitrary to the inevitable, from seeming to be an angry diatribe against art to an elegant statement".

A. L. Chanin. Art Guide/ New York. New York, 1965, p. 101, fig. 153.

Francis V. O'Connor. "The Genesis of Jackson Pollock, 1912 to 1943." PhD diss., Johns Hopkins University, 1965, p. 124, claims that Pollock's use of color as linear structuring in this painting, as well as in his other drip paintings, reflects his early training with Thomas Hart Benton, and were chosen for their expressive and associative potential.

Hilton Kramer. "Art: Looking Back at Jackson Pollock. Modern Museum Puts 172 Works on View." New York Times (April 5, 1967), p. 44, claims that drip paintings like this work do not hold up against those of the modern European masters.

William Rubin. "Jackson Pollock and the Modern Tradition, Part I." Artforum 7 (February 1967), pp. 14, 20, 22 n. 16, ill. p. 21, identifies this work as one of Pollock's few wall-size pictures from his "classic middle period"; erroneously locates it in the Museum of Modern Art, New York in the caption.

Harold Rosenberg. "The Art World: The Mythic Act." New Yorker (May 6, 1967), p. 169.

William Rubin. "Jackson Pollock and the Modern Tradition, Part II." Artforum 5 (March 1967), pp. 29, 33, states that this picture remains more linear than other drip paintings which recall the "color spots" of late Impressionism; compared to the late Impressionists, claims that Pollock's composition allows the allusion to nature in this work's title to take on a metaphoric quality, fusing the landscape and cityscape into a single image.

Dore Ashton. "New York Commentary." Studio International 174 (July/August 1967), p. 47, calls it "Autumn rhythms".

Finley Eversole. "Jackson Pollock Retrospective; Museum of Modern Art, 11 West 53rd. Street, New York, N.Y." Theology Today 24 (April 1967-January 1968), p. 255, states that this painting, like most of Pollock's drip paintings, are denser at the bottom and therefore cannot be turned upside down because then the composition would be "unbearably top-heavy"; perceives a "sense of spirituality" in pictures such as this one in which the composition appears to become lighter from bottom to top.

Bartlett Jones. "Jackson Pollock Retrospective." America 117 (September 23, 1967), p. 329.

Richard McLanathan. The American Tradition in the Arts. New York, 1968, ill. p. 444.

Jerrold Morris. On the Enjoyment of Modern Art. 2nd rev. ed. [1st ed. 1965]. Greenwich, Conn., 1968, pp. 50-51, pl. 14.

Leo Lerman. The Museum: One Hundred Years and the Metropolitan Museum of Art. New York, 1969, ill. pp. 332-33, calls it "Autumn Rhythm".

Henry Geldzahler. New York Painting and Sculpture: 1940-1970. Exh. cat., The Metropolitan Museum of Art. New York, 1969, pp. 20, 56, no. 310, ill. p. 270.

Gregory Battcock. "Re-Evaluating Abstract Expressionism." Arts Magazine 44 (December 1969/January 1970), ill. p. 47, incorrectly identifies this painting as still belonging to the estate of the artist.

Mahonri Sharp Young. "The Metropolitan Museum of Art Centenary Exhibitions I. The New York School." Apollo 90 (November 1969), p. 430, fig. 2, calls it "Autumn Rhythm"; calls Pollock one of the heroes of the exhibition.

C.H. Waddington. Behind Appearance: A Study of the Relations Between Painting and the Natural Sciences in this Century. Cambridge, Mass., 1969, p. 145, pl. 88, describes this painting as "the interconnection of everything with everything else, the flickering surface of evanescent thoughts just below the threshold of consciousness. You can explore it in a search for whatever you may bring with you to find".

Lawrence Alloway. "Pollock's Black Paintings." Arts Magazine 43 (May 1969), p. 40.

Kenneth Clark. Masterpieces of Fifty Centuries. Exh. cat., The Metropolitan Museum of Art. New York, 1970, p.327, pl. 396.

Irving Sandler. The Triumph of American Painting: A History of Abstract Expressionism. New York, 1970, pp. 116, 118, fig. 8-12.

Cindy Nemser. "Art Criticism and Perceptual Research." Art Journal 29 (Spring 1970), ill. p. 326.

Barbara Rose. Frankenthaler. New York, [1970], p. 29, describes Frankenthaler's first experience of this painting as "blinding".

Lillian Freedgood. An Enduring Image: American Painting from 1665. New York, 1970, ill. p. 343.

Michael Fried. Morris Louis. New York, [1971], p. 16, pl. 6, cites this painting as an example of line freed from describing contours and shapes, which "revokes" traditional drawing; relates this negation of drawing to works by Morris Louis.

George M. Cohen. A History of American Art. New York, 1971, p. 226, colorpl. 32 (sideways).

Charlotte Willard. Famous Modern Artists: From Cézanne to Pop Art. New York, 1971, pp. 24-25, ill. (color), calls it "Autumn Rhythm (No. 30)"; first time called by current title.

Judith Wolfe. "Jungian Aspects of Jackson Pollock's Imagery." Artforum 11 (November 1972), p. 72, states that Pollock named this work himself, unlike most of his other works which were titled by others or through a group effort.

B. H. Friedman. Jackson Pollock: Energy Made Visible. New York, 1972, pp. xx, 127, 142, 166-67, 194, 212, 242-43, ill. n.p. (Namuth photographs), asserts that the numbers assigned to works in Exh. New York 1950 were arbitrary and that this work (No. 30) was executed in September or October 1950, before No. 29; states that the MMA initially declined purchasing this work for $10,000 before Pollock's death; relates that while the painting was on special view at the MMA a group of school children "expressed a degree of interest and response" that convinced the museum's Board of Trustees to move forward with the acquisition; states that the $30,000 purchase included Krasner taking back a previously-purchased Pollock and crediting the museum $10,000, thus establishing the initial stage of posthumous Pollock prices.

Henri Dorra. Art in Perspective: A Brief History. New York, [1972], pp. 264, 267, fig. 19-6 (color).

Makoto O-Oka. "Abstraction and Lyricism." Art Now. Vol. 8, 1972, pp. 26-27, ill. (color).

Nora B. Beeson. Guide to The Metropolitan Museum of Art. New York, 1972, pp. 284-85, ill.

Sam Hunter and John Jacobus. American Art of the Twentieth Century: Painting, Sculpture, Architecture. New York, 1973, p. 245, includes this painting among other monumental Pollock and de Kooning works as instigating a "radical new factor of projection into the spectator's environment".

Ellen H. Johnson. "Jackson Pollock and Nature." Studio International 185 (June 1973), pp. 258-61, ill., remarks that this picture was one of several that Pollock renamed from numbers to titles that reflect his immersion in the natural landscape of East Hampton; states that this painting's colors of "sere brown, taupe and black, shot with glimpses of crisp teal blue" are appropriate for the title "Autumn Rhythm".

Robert Rosenblum. Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko. New York, 1975, p. 203, fig. 297, lists this work among Pollock's titles that suggest natural phenomena.

Frank O'Hara. Art Chronicles 1954-1966. New York, 1975, pp. 16, 32, 36.

Michèle Cone. The Roots and Routes of Art in the 20th Century. New York, 1975, p. 189, calls it "Autumn Rhythm".

John Russell. The Meanings of Modern Art. Vol. 10, America Redefined. New York, 1975, p. 28, fig. 39, calls it "Autumn Rhythm".

Edward Lucie-Smith. Art Today: From Abstract Expressionism to Surrealism. London, 1977, p. 58, colorpl. 43.

E. A. Carmean Jr. in American Art at Mid-Century: The Subjects of the Artist. Exh. cat., National Art Gallery. Washington, D.C., 1978, pp. 127, 133-41, 146-48, 150-52, ill. p. 46 and fig. 18, figs. 2, 17, 20 (studio photos), fig. 19 (filtered photograph), refers to it by the alternate titles "Number 31" and "Number 30"; dates it summer 1950 based on Burckhardt's (July or August) and Namuth's (September-late October) photographs; asserts that this work was kept on the floor during its entire creation and not studied by the artist vertically, as was typical with his smaller canvases; based on Burckhardt's and Namuth's photographs, suggests that the presence of the smaller canvases in the studio influenced the creation of this work; identifies this work as Pollock's last large-scale drip painting and likens its "crisscrossings" of paint to Cezanne's passage planes.

Barbara Rose. "Pollock's Studio: Interview with Lee Krasner." Pollock Painting. Ed. Barbara Rose. New York, 1978, unpaginated, Krasner comments that Pollock's creation of large-scale paintings, such as this work, was prompted by the larger space available after moving into the barn studio on his East Hampton property.

Francis V. O'Connor. "Hans Namuth's Photographs of Jackson Pollock as Art Historical Documentation." Pollock Painting. Ed. Barbara Rose. New York, 1978, unpaginated, ill.(studio and gallery photos), states that Namuth's pictures document that this painting was included in Pollock's 1950 one-man exhibition at the Betty Parson's Gallery in New York; discusses one Namuth photograph of this picture in progress, noting that a beam of sunlight emphasizes the movement of Pollock's arm and casts his face into a resemblance to Charles Baudelaire; concludes that "the great French writer and the great American painter both understood the essential link between artistic and natural process".

Francis Valentine O'Connor and Eugene Victor Thaw, ed. Jackson Pollock: A Catalogue Raisonné of Paintings, Drawings, and Other Works. Vol. 2, Paintings, 1948-1955. New Haven, 1978, pp. 116-19, no. 297, ill.

David Bourdon in Jackson Pollock: New-Found Works. Exh. cat., Yale University Art Gallery. New Haven, 1978.

David M. Quick. "Meaning in the Art of Barnett Newman and Three of His Contemporaries: A Study of Content in Abstract Expressionism." PhD diss., University of Iowa, 1978, p. 309, fig. 22.

William Rubin. "Pollock as Jungian Illustrator: The Limits of Psychological Criticism, Part II." Art in America 67 (December 1979), pp. 82, 86, refers to a 1969 interview with Lee Krasner attributing the remark "I choose to veil the imagery" to Pollock, quoting Krasner's further clarification: "Pollock made the remark about 'veiling' in reference to 'There Were Seven in Eight,' and it doesn't necessarily apply to other paintings-certainly not to such pictures as 'Autumn Rhythm,' 'One,' etc.".

René Payant in Jackson Pollock: Questions. Exh. cat., Musée d'Art Contemporain. Montreal, 1979, p. 88.

Francis V. O'Connor. "Hans Namuth's Photographs of Jackson Pollock as Art Historical Documentation." Art Journal 39 (Autumn 1979), p. 49 [reprints Ref. O'Connor 1978].

Bernice Rose. Jackson Pollock: Drawing into Painting. Exh. cat., Museum of Modern Art, New York. New York, 1980, pp. 10, 20, 25 n. 17.

Francis V. O'Connor. Jackson Pollock: Black Pourings, 1951-1953. Exh. cat., Institute of Contemporary Art, Boston. Boston, 1980, p. 3.

Albert Elsen. Purposes of Art. 4th ed. [1st ed. 1962]. New York, 1981, pp. 288-89, colorpl. 37, calls this painting a "portable canvas mural" which "constitutes a new, physically impenetrable, and unstable environment".

John Russell. The Meanings of Modern Art. New York, 1981, pp. 312-13, ill., calls it "Autumn Rhythm".

Richard Martin. "'The New Soft Look': Jackson Pollock, Cecil Beaton, and American Fashion in 1951." Dress 7, no. 1 (1981), p. 2, fig. 1 (installation photo of Exh. New York 1950) and fig. 5 (Beaton photograph).

Lowery S. Sims in Profil du Metropolitan Museum of Art de New York: de Ramsès à Picasso. Exh. cat., Galerie des Beaux-Arts, Bordeaux. Bordeaux, 1981, p. 167.

Lisa M. Messinger. "Twentieth Century Art." The Metropolitan Museum of Art: Notable Acquisitions, 1981-1982. New York, [1982], p. 57, calls it "Autumn Rhythm".

Michael Brenson. "Met Museum Gets Pollock Works." New York Times (December 22, 1982), p. C15.

Richard Eder. "After a Strike, Paris Gets to See 63 Pollocks." New York Times (February 9, 1982), p. C8.

Grace Glueck. "Met Acquires Early Pollock." New York Times (January 13, 1982), p. C19.

E. A. Carmean Jr. Jackson Pollock. Exh. cat., Musée National d'Art Moderne, Centre Georges Pompidou. Paris, 1982, pp. 58, 67-68, ill. pp. 178-79 (color).

Annette Cox. Art-As-Politics: The Abstract Expressionist Avant-Garde and Society. 2nd ed. [1st ed. 1977]. Ann Arbor, 1982, p. 83, fig. 21.

William S. Lieberman. "Lieberman's Acquisitions." Art/World 6 (February 22/March 22, 1982), p. 10.

Elizabeth Frank. Jackson Pollock. New York, 1983, p. 75, fig. 77 (color), calls it "Autumn Rhythm: Number 30, 1950"; comments that it "is one of Pollock's most elegiac paintings" with colors that communicate an "intensely private, yet exalted feeling".

Charles W. Millard. "Jackson Pollock." Hudson Review 36 (Summer 1983), p. 343.

William S. Lieberman in Jackson Pollock: Opere 1930-1956. Exh. cat., Palazzo Venezia. Rome, 1983, p. 11.

Budd Hopkins. "The Drawings of Willem de Kooning." Drawing 5 (March-April 1984), p. 121.

Yves Michaud in Willem de Kooning. Exh. cat., Musée National d'Art Moderne, Centre Georges Pompidou. Paris, 1984, p. 21.

Jeffrey Potter. To A Violent Grave: An Oral Biography of Jackson Pollock. New York, 1985, pp. 134, 197, 272, quotes Betty Parsons' comment that Pollock's second show at her gallery [Exh. New York 1950] "was a disaster" with the asking price for this painting of $1,200; includes Robert Beverly Hale's recollection of the MMA purchase price of $20,000 in addition to trading in "Number 17, 1951" along with a trustee's remark, "a work that big must have some value".

Sam Hunter and John Jacobus. Modern Art: Painting/Sculpture/Architecture. 2nd. ed. (1st ed. 1977). New York, 1985, pp. 274-75, fig. 493 (color).

Shunsuke Kijima and William S. Lieberman. Drawings Jackson Pollock: Loan Exhibition from The Metropolitan Museum of Art. Exh. cat., The Shoto Museum of Art. Tokyo, 1985, unpaginated, ill.

Dierdre Robson. "The Market for Abstract Expressionism: The Time Lag Between Critical and Commercial Acceptance." Archives of American Art Journal. no. 3, 1985, p. 419, cites Paul Cumming's interview with Sidney Janis (1972) for the Archives of American Art's Oral History Project in which the dealer recounts how Barr passed on this painting for MoMA after its price went up after the artist's death, enabling the MMA to purchase it.

Yoshiaki Tōno. Pollock. Tokyo, 1985, fig. 36 (color).

Eugene Victor Thaw. "The Abstract Expressionists." Metropolitan Museum of Art Bulletin 44 (Winter 1986-87), pp. 9, 25, 29, 39, fig. 7 (color).

Kay Larson. "The Met Goes Modern: Bill Lieberman's Brave New Wing." New York Magazine 19 (December 15, 1986), pp. 42, 46, 48.

Lisa Mintz Messinger in 20th Century Art: Selections from the Collection of The Metropolitan Museum of Art, New York. Vol. 2, Painting: 1945-1985. New York, 1986, pp. 22-23, ill. (color, overall and detail), calls it "Elegy to the Spanish Republic, 70".

William S. Lieberman in 20th Century Art: Selections from the Collection of The Metropolitan Museum of Art, New York. Vol. 2, Painting: 1945-1985. New York, 1986, p. 6.

Matthew L. Rohn. Visual Dynamics in Jackson Pollock's Abstractions. Ann Arbor, 1987, pp. 20-21, 28, 34, 36, 39, 50-55, 61, 85-90, 95, p. 144 n. 48, 147 n. 11, p. 148 n. 27, p. 150 n. 10, pl. 4, cites this painting throughout the text as an example of how Pollock's work can be separated into four structural components: microstructure, primary structural configurations, secondary configurations, and format; argues this analysis provides the viewer with a sound understanding of the activity and ordering occuring within the composition.

Deborah Solomon. Jackson Pollock: A Biography. New York, 1987, pp. 209, 212, 214-15, 253.

Lawrence Alloway and Michael Auping in Abstract Expressionism: The Critical Developments. Ed. Michael Auping. Exh. cat., Albright-Knox Art Gallery. New York, 1987, p. 128.

Brian O'Doherty. American Masters: The Voice and the Myth. New York, 1988, p. 105, ill. pp. 94-95 (Namuth studio shot).

Diane Waldman. Willem de Kooning. New York, 1988, p. 91, calls it "Autumn Rhythm, Number 30".

Ellen G. Landau. Jackson Pollock. New York, 1989, pp. 196, 213, ill. pp. 12 (Namuth photo), 17-18 (Namuth photos), 207 (Beaton photo), unpaginated pull-out (color).

Steven Naifeh and Gregory White Smith. Jackson Pollock: An American Saga. New York, 1989, pp. 1, 4, 615-16, 647, 654, 656, 662, 665, 696-97 ill. p. 617, incorrectly state that this picture's asking price when first shown at the Betty Parsons Gallery in November 1950 was $7,500 [see Ref. Potter 1985], and that it did not sell.

Jeffrey Wechsler. Abstract Expressionism, Other Dimensions : An Introduction to Small Scale Painterly Abstraction in America, 1940-1965. Exh. cat., Lowe Art Museum, University of Miami, Coral Gables. New Brunswick, N. J., 1989, pp. 71-72, 76.

Lisa M. Messinger in "Recent Acquisitions: A Selection, 1989-1990." Metropolitan Museum of Art Bulletin 48 (Fall 1990), p. 77.

Roberta Smith. "Where to See Pollocks." New York Times (February 2, 1990), p. C28.

Douglas Maxwell. "Jackson Pollock." art BookNews (Autumn 1990), p. 11, recounts discovering the splattered floor in Pollock's barn studio after removing a masonite covering, and remarks that one can still discern the colors used to create this painting.

Timothy J. Clark. "Jackson Pollock's Abstraction." Reconstructing Modernism: Art in New York, Paris, and Montreal, 1945-1964. Ed. Serge Guilbaut. Cambridge, Mass., 1990, pp. 173,176, 201, 204, 207, 221, 225, 229, ill. p. 175 [Ref. Vogue 1951], 208, 214 (Namuth photo), 226 (Namuth photo), discusses the use of this painting in the background of Beaton's fashion spread [Ref. Vogue 1951] in terms of "the question of Pollock's paintings' public life"; considers "Autumn Rhythm," with its metaphor of nature, to likely be one of Pollock's own titles; describes this work, along with an El Lissitsky propaganda board, as emblems that "conjure up the purposes of abstract painting...the claim to totality".

Clifford Ross. Abstract Expressionism: Creators and Critics, An Anthology. New York, 1990, ill. pp. 26-27 (color).

Donald Goddard. American Painting. New York, 1990, p. 251.

Tilman Osterwold in Jackson Pollock: Zeichnungen. Exh. cat., Württembergischer Kunstverein. Stuttgart, 1990, p. 18.

Lisa Mintz Messinger in Jackson Pollock: Zeichnungen. Exh. cat., Württembergischer Kunstverein. Stuttgart, 1990, p. 65, ill. p. 11 (color).

Ben Heller. Jackson Pollock: Black Enamel Paintings. Exh. cat., Gagosian Gallery. New York, 1990, p. 20.

Lisa Liebmann in Lee Krasner: Paintings from 1965 to 1970. Exh. cat., Robert Miller. New York, 1990, unpaginated, calls Lee Krasner's "Combat" (1965; National Gallery of Australia, Canberra) the "Rubensian counterpart" to this painting.

David Anfam. Abstract Expressionism. New York, 1990, p. 129, calls it "Autumn Rhythm".

Patrick Negri. "Signs of Being: A Study of the Religious Significance of the Art of Barnett Newman, Jackson Pollock, and Mark Rothko." PhD diss., Graduate Theological Union, 1990, pp. 180-81, fig. 32, calls it "Autumn Rhythm, Number 30, 1950".

Stephen Polcari. Abstract Expressionism and the Modern Experience. Cambridge, 1991, p. 254, fig. 193, calls it "Autumn Rhythm".

Erika Doss. Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism. Chicago, 1991, pp. 1, 339, 354, figs. 5.13, 6.9 (Beaton photograph), ill. (title page), states that this painting's mural-size scale "convey[s] Pollock's obvious desire for social interaction".

John R. Lane in Lowery Stokes Sims. Stuart Davis: American Painter. Exh. cat., The Metropolitan Museum of Art. New York, 1991, p. 76, fig. 62.

Marcelin Pleynet. "Art and Literature: Robert Motherwell's 'Riverrun'." Interpreting Contemporary Art. Ed. Stephen Bann and William Allen. New York, 1991, p. 17, calls it "Number 30: Autumn Rhythm".

Stephen Polcari. "Orozco and Pollock: Epic Transfigurations." American Art 6 (Summer 1992), p. 54, fig. 26, relates the "hooks" of paint in this work to the right-angle compositional design of Orozco's fresco "The Trench" (1923, National Preparatory School, Mexico City).

Claude Cernuschi. Jackson Pollock: Meaning and Significance. New York, 1992, pp. 17, 135, 143, figs. 43 (installation photo, Pollock's studio), 55, asserts that this painting still betrays adherence to Pollock's former teacher Thomas Hart Benton's emphasis on dynamic rhythms in a composition; comments that all three monumental drip paintings from 1950 ("Number 32," "One," and "Autumn Rhythm") could be viewed as different layers of the same painting.

April Kingsley. The Turning Point: The Abstract Expressionists and the Transformation of American Art. New York, 1992, pp. 235, 244, 246, 341, 355, 362, 391 n. 74, p. 392 n. 88, ill. cover, pp. 236, 242, 245 (studio photos), relates that Rudolph Burckhardt took photographs of Pollock pretending to work on "Number 32" for Ref. Goodnough 1951, but Namuth's photographs of the artist painting this picture were used instead; notes that Pollock mostly stood at what is now the bottom edge of this work while painting it; suggests that the smaller canvas "Autumn Landscape," visible propped against "Number 32" in Namuth's photographs, may have inspired this larger drip-painting.

Anna C. Chave. "Pollock and Krasner: Script and Postscript." Anthropology and Aesthetics 24 (Autumn 1993), fig. 1.

Michael Leja. Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s. New Haven, 1993, pp. 113, 298, relates Namuth's photographs of this work in progress to formal strategies of "public presentation" found in film noir.

Ellen G. Landau. Jackson Pollock. Exh. cat., ACA Galleries. New York, 1993, p. 22.

Barbara Burn, ed. Masterpieces of the Metropolitan Museum of Art. New York, 1993, pp. 306-7, ill. (color).

Diane Waldman. Roy Lichtenstein. Exh. cat., Solomon R. Guggenheim Museum. New York, 1993, pp. 77, 161, fig. 78 (color).

Jonathan Harris. "Modernism and Culture in the USA, 1930-1960." Modernism in Dispute: Art since the Forties. New Haven, 1993, pp. 61-62, colorpl. 58.

Francis Frascina. "The Politics of Representation." Modernism in Dispute: Art since the Forties. New Haven, 1993, pp. 128, 152, 155, pls. 130 (installation photograph, Exh. New York 1950), 134 (Beaton photograph).

Teruo Fujieda. Jackson Pollock. Tokyo, 1994, ill. p. 197.

Bruce Altshuler. The Avant-Garde in Exhibition: New Art in the 20th Century. New York, 1994, p. 166.

Kathleen Howard, ed. The Metropolitan Museum of Art Guide. 2nd ed. (1st ed., 1983). New York, 1994, pp. 446-47, no. 28, ill. (color).

Michael Kimmelman. "At the Met and the Modern with Richard Serra: One Provocateur Inspired by Another." New York Times (August 11, 1995), pp. C1, C26, ill. (installation photo), quotes Serra's statement that in this painting Pollock "allowed the form to emerge out of the materials and out of the process".

Ellen H. Johnson. Modern Art and the Object: A Century of Changing Attitudes. Rev. and enlarged ed. 1995, pp. 114, 116-17 [reprints Ref. Johnson 1973].

W. Jackson Rushing. Native American Art and the New York Avant-Garde: A History of Cultural Primitivism. Austin, 1995, p. 187, fig. 6-25.

Regine Prange. Jackson Pollock, Number 32, 1950: Die Malerei als Gegenwart. Frankfurt, 1996, pp. 22, 30, 58, figs. 19 (Namuth studio photo), 32.

Matthew Rampley. "Identity and Difference: Jackson Pollock and the Ideology of the Drip." Oxford Art Journal 19 (1996), pp. 87-88.

Carter Ratcliff. The Fate of a Gesture: Jackson Pollock and Postwar American Art. New York, 1996, pp. 90-91, 113, 184, 220, fig. 19 (Namuth photograph) and colorpl. 1.

Holland Cotter. "Prospecting In the Jumble Of Pollock's Earliest Work." New York Times (October 21, 1997), p. E3.

Nan Rosenthal. "The Pollock Sketchbooks: An Introduction." The Jackson Pollock Sketchbooks in The Metropolitan Museum of Art. New York, 1997, pp. 16, 26, fig. 5.

Philippe Monsel. Jackson Pollock, 1912-1956. Paris, 1997, colorpl. 32.

Lynne Cooke in Alex Katz: Twenty Five Years of Painting from the Saatchi Collection. Ed. David Sylvester. Exh. cat.London, 1997, p. 200.

Ann Eden Gibson. Abstract Expressionism: Other Politics. New Haven, 1997, p. 4.

Carol Mancusi-Ungaro in Jeffrey Weiss. Mark Rothko. Exh. cat., National Gallery of Art, Washington D.C. Washington, D.C., 1998, pp. 287-88, compares the drips in this work, which Pollock painted on the floor and approached from all sides, to Rothko's process of propping the canvas on its side and then changing its orientation after its execution.

Jed Perl. "Pollock Fever." The New Republic (November 30, 1998), p. 44, states that this painting, along with the other two monumental drip canvases Pollock painted in 1950, are the culmination of his best work.

Paul Richard. "Art: Splash Dance." Washington Post (November 10, 1998), p. B1, ill. p. B9 (Namuth studio photo), calls it "Autumn Rhythm: Number 30, 1950".

Michael Kimmelman. "The Way Even Pollock's Failures Enhance His Triumphs." New York Times (October 30, 1998), p. E34, summarizes Ref. Karmel 1998.

Mark Stevens. "Painter's Punchwindows." New York Magazine (November 9, 1998), p. 65, ill. p. 64 (Namuth studio photo).

Pepe Karmel in Kirk Varnedoe with Pepe Karmel. Jackson Pollock. Exh. cat., Museum of Modern Art, New York. New York, 1998, pp. 90-95, 103, 105-7, 114, 118, 120-21, 128, 130-31, 133, figs. 3-4 (Namuth studio photo), 6 (Namuth studio photo), 7-23 (Namuth studio photos), 25 (Namuth studio photo), 91, 107-12 (Namuth studio photos), colorpls. 182-83 (detail and overall), recounts Namuth's visit to Pollock's studio to photograph him at work; addresses the inaccuracies relating to this painting in Ref. Goodnough 1951; discusses composite photographs created from those Namuth took to examine Pollock's painting process.

Kirk Varnedoe in Kirk Varnedoe Pepe Karmel. Jackson Pollock. Exh. cat., Museum of Modern Art, New York. New York, 1998, pp. 52, 60, 68, 84 n. 190, figs. 2 (Namuth photo), colorpls. 182-83 (detail and overall), relates how MoMA passed on this painting for $6,000, enabling the MMA to acquire the work after the artist's death for $30,000; notes that there is a discrepancy between sources concerning the original purchase price.

Justin Spring. Carrés d'Art: Jackson Pollock. Paris, 1998, ill. p. 65 (color).

Jane Adlin. Contemporary Ceramics: Selections from The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1998, p. 6, fig. 7.

Michael Kimmelman. Portraits: Talking with Artists at the Met, the Modern, the Louvre and Elsewhere. New York, 1998, pp. xi, xiii, 50, 52, 54, 57, 64, 188, 200-201, ill., calls it "Autumn Rhythm".

Michael Leja in Monet in the 20th Century. Ed. Paul Hayes Tucker and Mary Anne Stevens. Exh. cat., Museum of Fine Arts, Boston. Boston, 1998, p. 104, fig. 80 (color), calls it "Autumn Rhythm" in the text.

Romy Golan in Monet in the 20th Century. Ed. Paul Hayes Tucker and Mary Anne Stevens. Exh. cat., Museum of Fine Arts, Boston. Boston, 1998, p. 96, fig. 73 (Namuth photo), calls it "Autumn Rhythm".

Marcelin Pleynet. "Art et Littérature: Riverrun." La Nouvelle Revue Française nos. 546-47 (July-August 1998), p. 91, calls it "Number 30: Automne Rhythm".

T. J. Clark. Farewell to an Idea: Episodes from a History of Modernism. New Haven, 1999, pp. 302, 304, 340, 342, 365, p. 440 n. 104, figs. 178 (Beaton photo), 203 (color), states that "nature returns" to Pollock's work in this painting, as demonstrated by its title; claims that Pollock came up with this title on his own, but arrived at it slowly-it is listed as "Number 30, 1950" in the Bennington 1952 retrospective; suggests its qualities directly evoke the natural world through color and drawing; compares the painting's brown tones to dry leaves and bare branches; calls it an "instance of autumn" questioning why this return to nature occured at abstraction's "moment of triumph," concluding that abstract art can never truly be abstract.

James Coddington. "No Chaos Damn It." Jackson Pollock: New Approaches. Ed. Kirk Varnedoe and Pepe Karmel. New York, 1999, pp. 103, 105-6, 110, colorpls. 5, 8 (detail), states that the lack of wet-into-wet marbling like that found in "Number 28" suggests that Pollock did not come in physical contact with the canvas while creating this painting.

Jeremy Lewison. Interpreting Pollock. London, 1999, pp. 10, 42, 54, 57, 72, 77, ill. p. 68 (color detail), figs. 45 (color), 61 (Namuth photo), 65 (Beaton photo), comments that the increase in sale price from $6,000 to $30,000 after the artist's death [see Ref. Varnedoe 1998] reflects the posthumous rise in his reputation; notes that this painting was stapled to the wall for Exh. New York 1950; argues that the pink sash of the model in Beaton's photograph complements the tones in this painting, thus feminizing it.

T. J. Clark. "Pollock's Smallness." Jackson Pollock: New Approaches. Ed. Kirk Varnedoe and Pepe Karmel. New York, 1999, pp. 18-19, 23, 27, figs. 2, 12 (installation photos, Exh. New York 1950), colorpl. 5, posits that Pollock painted this work in such "monstrous dimensions" as if "that there might be a point, if you got a painting big enough, where the sheer size of the field, and the number of painterly incidents within it, would overwhelm metaphor and put the world in its place".

Kirk Varnedoe and Pepe Karmel, ed. "Introduction: Pollock and The Museum of Modern Art." Jackson Pollock: New Approaches. New York, 1999, pp. 11, 13 n. 13, relates that Alfred H. Barr asked Sidney Janis to put this painting on reserve for possible purchase during its installation in the Museum of Modern Art's 1956 Pollock exhibition for an agreed upong price of $6,000; notes that after the price increased to $30,000 after Pollock's death, Barr passed, enabling the MMA to acquire the work.

Robert Storr. "A Piece of the Action." Jackson Pollock: New Approaches. Ed. Kirk Varnedoe and Pepe Karmel. New York, 1999, p. 61.

Pepe Karmel. "A Sum of Destructions." Jackson Pollock: New Approaches. Ed. Kirk Varnedoe. New York, 1999, pp. 89, 92, colorpl. 5, suggests that this painting began with some sort of figurative imagery, noting that Pollock had a consistent repertory of figures and marks.

Carol C. Mancusi-Ungaro. "Jackson Pollock: Response as Dialogue." Jackson Pollock: New Approaches. Ed. Kirk Varnedoe and Pepe Karmel. New York, 1999, pp. 145-46, colorpl. 5, states that materials used in this painting include hardened paint skins.

Rosalind E. Krauss. "The Crisis of the Easel Picture." Jackson Pollock: New Approaches. Ed. Kirk Varnedoe and Pepe Karmel. New York, 1999, p. 170, figs. 2-3 (intermediate states), colorpl. 5, states that in this painting "horizontality had become the medium through which he [Pollock] could experience the unconscious as an attack on form".

Jeremy Lewison. "Jackson Pollock and the Americanization of Europe." Jackson Pollock: New Approaches. Ed. Kirk Varnedoe and Pepe Karmel. New York, 1999, p. 217, colorpl. 5.

Justin Spring. "Jackson Pollock, Superstar." New England Review 20 (Winter 1999), p. 49.

Hilton Kramer. "Jackson Pollock & the New York School, II." New Criterion 17 (February 1999).

"1950s." Tate no. 17 (Spring 1999), p. 37, calls it "Autumn Rhythm: Number 30, 1950".

Tim Marlow. "Lights, Camera, Action Painting." Tate 17 (Spring 1999), ill. p. 29 (Namuth photograph), calls it "Autumn Rhythm: Number 30".

Richard Martin. "New Look and Newer Look: The Communtation of Jackson Pollock by Cecil Beaton and Mike Bidlo." Such Desperate Joy: Imagining Jackson Pollock. Ed. Helen Harrison. New York, 2000, p. 345, comments that the "lacy lines" of the paintings in Beaton's fashion shoot [ Ref. Vogue 1951] animated the flow of the dresses modeled, adding that the setting for these photographs were chosen independently from art history.

Ronnie Landfield. "The Whitney Museum Ends the American Century." Linea 4 (Winter 2000), p. 14.

Annie Cohen-Solal. Painting American: The Rise of American Artists, Paris 1867-New York 1948. New York, 2001, pp. 339-40, ill. (Namuth studio photo).

Robin Cembalest. "Flashback: 1951. Who Was Jack the Dripper? The Photos That Launched a Thousand Theories." Artnews 101 (June 2002), p. 136, calls it "Autumn Rhythm: Number 30, 1950".

Ann Temkin in Barnett Newman. Ed. Ann Temkin. Exh. cat., Philadelphia Museum of Art. Philadelphia, 2002, p. 41, fig. 18 (installation photo), calls it "Number 30 (Autumn Rhythm)".

Ellen G. Landau in Pollock's America: Jackson Pollock in Venice. The "Irascibles" and the New York School. Exh. cat., Museo Correr. Milan, 2002, pp. 73, 82.

Erika Doss. Twentieth-Century American Art. Oxford, 2002, p. 119, fig. 60 (color).

Richard P. Taylor, Adam P. Micolich, and David Jonas. "The Construction of Jackson Pollock's Fractal Drip Paintings." Leonardo 35, no. 2 (2002), p. 205.

Kirk Varnedoe in Pollock's America: Jackson Pollock in Venice. The "Irascibles" and the New York School. Exh. cat., Museo Correr. Milan, 2002, pp. 94-95, 103.

William S. Lieberman in Pollock's America: Jackson Pollock in Venice. The "Irascibles" and the New York School. Exh. cat., Museo Correr. Milan, 2002, pp. 114, 121 n. 16.

Jordan Kantor in Jackson Pollock's Blue Poles. Ed. Anthony White. Exh. cat., National Gallery of Australia. Canberra, 2002, pp. 42, 52 n. 2.

Anthony White in Jackson Pollock's Blue Poles. Ed. Anthony White. Exh. cat., National Gallery of Australia. Canberra, 2002, p. 25, ill. (Namuth studio photo and overall, color).

Terry Smith in Jackson Pollock's Blue Poles. Ed. Anthony White. Exh. cat., National Gallery of Australia. Canberra, 2002, p. 56.

Martin Gayford. "Being in a Field." Modern Painters 15 (Autumn 2002), p. 62, calls it "Autumn Rhythm".

Richard Taylor. "Fractal Expressionism-Where Art Meets Science." Art and Complexity. Ed. John Casti and Anders Karlqvist. Amsterdam, 2003, pp. 135, 137, cites this painting as an example of how fractals emerge in Pollock's drip paintings, asserting that Pollock instinctually graviated towards fractal patterns because of a "fundamental appreciation arising from humanity's exposure to Nature's fractal patterns".

Leonhard Emmerling. Jackson Pollock, 1912-1956. Cologne, 2003, pp. 73, 91, ill. pp. 65 (Namuth studio photo), 78-79 (color), argues that Pollock was conscious of the edges of this painting when it was made; disparages its use in the background of Beaton's photographs [Ref. Vogue 1951].

Irving Sandler. A Sweeper-Up After Artists: A Memoir. New York, 2003, pp. 93, 228, 245, 299.

Omri Moses. "Jackson Pollock's Address to the Nonhuman." Oxford Art Journal 27, no. 1 (2004), pp. 20-22, fig. 16, states that Pollock's large scale paintings, like this one, "no longer embody action...but include action as one of their effects" and thereby address the "nonhuman" aspects of existence such as endlessness.

Marcia Brennan. Modernism's Masculine Subjects: Matisse, the New York School, and Post-Painterly Abstraction. Cambridge, Mass., 2004, pp. 89-91, 105, fig. 3.5, colorpl. 4, calls it "Autumn Rhythm"; claims that the presence of Pollock's wife, Lee Krasner, in his studio and Namuth's photographs served to illustrate and emphasize his heterosexuality; asserts that in Ref. Vogue 1951 "when the feminine no longer played a supporting role in facilitating masculine creative production, but instead became the privileged center of the representation, the idealized reading of the drip paintings as metaphorical masculine bodies itself became compromised".

Jed Perl. New Art City. New York, 2005, pp. 191, 250, argues that by the time this work was created, Pollock's drip technique had become repetitive; compares its composition to Monet's "orchestrating a grand whole" in his large "Water Lilies" canvases.

Stefan Neuner in Willem de Kooning. Ed. Ingried Brugger and Florian Steininger. Exh. cat., Kunstforum Wien. Vienna, 2005, p. 25, fig. 2 (color).

Florian Steininger in Willem de Kooning. Ed. Ingried Brugger and Florian Steininger. Exh. cat., Kunstforum Wien. Vienna, 2005, pp. 46, 57, 122, fig. 3 (color).

Michael FitzGerald. Picasso and American Art. Exh. cat., Whitney Museum of American Art. New York, 2006, pp. 205, 226.

Randy Kennedy. "Computer Analysis Suggests Paintings Are Not Pollocks." New York Times (February 9, 2006), p. E1, states that a computer analysis of fractal geometry by physicist Richard P. Taylor was compared to a cache of newly-found "Pollock" works to help determine if they were real.

David Anfam in Abstract Expressionism and Other Modern Works: The Muriel Kallis Steinberg Newman Collection in The Metropolitan Museum of Art. Ed. Gary Tinterow, Lisa Mintz Messinger, and Nan Rosenthal. Exh. cat., The Metropolitan Museum of Art. New York, 2007, p. 165.

Pepe Karmel in Abstract Expressionism and Other Modern Works: The Muriel Kallis Steinberg Newman Collection in The Metropolitan Museum of Art. Ed. Gary Tinterow, Lisa Mintz Messinger, and Nan Rosenthal. Exh. cat., The Metropolitan Museum of Art. New York, 2007, pp. 99-102, fig. 26 (color).

Claude Cernuschi and Ellen G. Landau in Pollock Matters. Exh. cat., McMullen Museum of Art, Boston College. Chicago, 2007, p. 6.

Ellen G. Landau in Pollock Matters. Exh. cat., McMullen Museum of Art, Boston College. 2007, p. 39.

Jonathan D. Katz in Pollock Matters. Exh. cat., McMullen Museum of Art, Boston College. Chicago, 2007, p. 59.

Claude Cernuschi and Andrzej Herczynski in Pollock Matters. Exh. cat., McMullen Museum of Art, Boston College. Chicago, 2007, p. 73, ill. p. 74 (installation photo, Exh. New York 1950).

Claude Cernuschi, Andrzej Herczynski, and David Martin in Pollock Matters. Exh. cat., McMullen Museum of Art, Boston College. Chicago, 2007, pp. 99, 101.

Carroll Janis. "Pollock's Breakthrough: Psychohistory and Style Origins." Sources: Notes in the History of Art 27 (Winter/Spring 2008), p. 72.

Francis Halsall. "Chaos, Fractals, and the Pedagogical Challenge of Jackson Pollock's 'All-Over' Paintings." Journal of Aesthetic Education 42 (Winter 2008), pp. 5-8, 10-11.

David Anfam. Abstract Expressionism: A World Elsewhere. Exh. cat., Haunch of Venison. New York, 2008, pp. 12, 14.

Änne Söll. "Pollock in 'Vogue': American Fashion and Avant-garde Art in Cecil Beaton's 1951 Photographs." Fashion Theory 13, no. 1 (2009), pp. 37-38, observes that the Vogue photograph featuring this work is the only one where the painting's drips are in sharp focus.

Gail Levin. Lee Krasner: A Biography. New York, 2011, pp. 267, 317, calls it "Autumn Rhythm".

The Metropolitan Museum of Art Guide. New York, 2012, pp. 422-23, ill. (color).

Stephen Polcari in Men of Fire: José Clemente Orozco and Jackson Pollock. Exh. cat., Hood Museum of Art, Dartmouth College. Hanover, N. H., 2012, p. 16, fig. 40 (color).

Evelyn Toynton. Jackson Pollock. New Haven, 2012, pp. 70, 106, ill. pp. 72-73.

Alexandra Davis Weiss. "The Artist-As-Celebrity: Picturing Artistic Fame in 'Vanity Fair', 'Vogue', and 'Harper's Bazaar' Magazines, 1921-1951." PhD diss., University of Pennsylvania, 2012, pp. 126-29, 132-33, fig. 3.24 (color, Beaton photos), argues that the Vogue 1951 photographs emphasize this paintings's monumentality, particularly since it occupies virtually the entire image; considers it visually interconnected with the modeled evening gown.

Alicia G. Longwell in Klaus Ottmann and Dorothy Kosinski. Angels, Demons, and Savages: Pollock, Ossorio, Dubuffet. Exh. cat., Phillips Collection. New Haven, 2013, pp. 30, 35, 40, 44 n. 21.

Sergio Risaliti in Jackson Pollock: The Figure of the Fury. Ed. Sergio Risaliti with Francesca Campana Comparini. Exh. cat., Palazzo Vecchio. Florence, 2014, ill. p. 45.

Tetsuya Oshima in Jackson Pollock: The Figure of the Fury. Ed. Sergio Risaliti with Francesca Campana Comparini. Exh. cat., Palazzo Vecchio. Florence, 2014, p. 62, ill. p. 64 (installation photo), suggests that this painting and "One: Number 31, 1950" (MoMA, New York) were made to create a mural-like quality for Exh. New York 1950.

Stephanie Buhmann in Jackson Pollock: The Sound of the Fury. Ed. Sergio Risaliti Francesca Campana Comparini. Exh. cat., Palazzo Vecchio. Florence, 2014, p. 74, ill. pp. 148-49 (color).

Maria Grazia Messina in Jackson Pollock: The Figure of the Fury. Ed. Sergio Risaliti with Francesca Campana Comparini. Exh. cat., Palazzo Vecchio. Florence, 2014, pp. 98-99.

Robert S. Mattison. Why Nature? Hofmann, Mitchell, Pousette-Dart, Stamos. Exh. cat., Hollis Taggart Galleries. New York, 2014, p. 13, fig. 6 (color).

Helen A. Harrison. Jackson Pollock. London, 2014, pp. 87, 108, figs. 64-65 (studio photos), 72 (color), calls it "Autumn Rhythm: Number 30, 1950".

Annie Cohen-Solal. Mark Rothko: Toward the Light in the Chapel. 2nd ed. [1st ed., French, 2013]. New Haven, 2015, p. 150, erroneously locates it in the collection of the Museum of Modern Art, New York.

Gavin Delahunty in Jackson Pollock: Blind Spots. Ed. Gavin Delahunty. Exh. cat., Tate Liverpool. London, 2015, pp. 15, 18, ill. (installation photo pf Exh. New York 1950), calls it "Autumn Rhythm: Number 30, 1950".

Jo Applin in Jackson Pollock: Blind Spots. Ed. Gavin Delahunty. Exh. cat., Tate Liverpool. London, 2015, p. 90, calls it "Autumn Rhythm: Number 30, 1950".

Bernard Jacobson. Robert Motherwell: The Making of an American Giant. [London], 2015, pp. 23, 80, calls it "Autumn Rhythm".

Calvin Tomkins. "Onward and Upward with the Arts: The Met and the Now." New Yorker (January 25, 2016), p. 33.

Kathryn Calley Galitz. The Metropolitan Museum of Art Masterpiece Paintings. New York, 2016, p. 529, ill. (color), colorpl. 463.

Dieter Roelstraete in Kerry James Marshall: Mastry. Ed. Helen Molesworth. Exh. cat., Museum of Contemporary Art Chicago. Chicago, 2016, p. 52, fig. 20 (color).

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Jackson Pollock | Autumn Rhythm (Number 30) | The Met

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Robert M. Coates. "The Art Galleries: Extremists." New Yorker (December 9, 1950), p. 110, notes that all of the works in Exh. New York 1950 are only identified by numbers, which "makes referencing them a bit dull"; criticizes no.

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Jackson Pollock’s Autumn Rhythm (Number 30)

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“More matter with less art” —Gertrude (II.ii.95) (Brian Rudnicki)

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“More matter with less art” —Gertrude (II.ii.95) (Brian Rudnicki)

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I believe that Pollock’s Autumn Rhythm connects to this quote by Gertrude best. Although abstract expressionism is art, abstract expressionists focus less than artistry of a scene, but rather the certain feeling or mood of when a painting of that scene was made. This, making individuals sit and reflect on the moment rather than focus on things like tight brushwork of the art. This is similar to Gertrude’s comment on the beginning of Hamlet’s irrational behavior which many individuals didn’t see as proper or in their terms, the art of good conversation.

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“When sorrows come, they come not single spies, but in battalions.” -Claudius

While it may not be long or seem to represent much, this quote is a mere representation of death, sorrow, loss and the tragedy that many go through with the loss of loved ones. It’s saying that tragedy’s do not come in one small death, but rather in many, very painful ones. I believe that the painting,”Vision After the Sermon” by Gaugin is an accurate representation of this quote. This painting says a lot about battles, tragedy and death. As does the quote by Claudius and furthermore his entire speech as a whole. This painting is bright, red, and out of the ordinary just as death is. Most people on the side in the painting are praying. Praying for most likely that this fight will not end in death, because as the quote says when sorrows come, they come not single spies but in battalions. The painting and the quote both represent death, sorrow, loss and tragedy. Which is why I believe that they are the right fit for each other. - Sophia Ward

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Starry night and “Something is rotten in the state of Denmark.” -Elena P

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Starry night and “Something is rotten in the state of Denmark.” -Elena P

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“Something is rotten in the state of Denmark.” -Marcellus( act 1 scene 4 line 90)

This line is from the scene where hamlet and his friends/ night guards go to see the ghost with hamlet for the first time. At the end of this scene Hamlet declares that he must follow the ghost to see what he wants from him. Marcellus responds to Hamlet running off with something is rotten in the state of Denmark, meaning something bad is going to happen here. This is due to the nature of the time where it’s common to take revenge on parental death. This quote foreshadows the rest of the play, a common theme Shakespeare uses in his plays like in Romeo and Juliet when Friar Laurence is always foreshadowing the future of Romeo and Juliet. A painting that I believe goes along with this quote and it’s context is the starry night. In this painting it looks promising and beautiful but the context behind it is honestly disturbing. Van Gogh was in a asylum when he made this painting. Most of the scenery isn’t actually there, the town we see in the painting wasn’t there in the actual view, but it was assumed to be his hometown. The funny looking tree is a Cyprus tree, which represents death and despair. This painting foreshadows his future of slowly descending into a worse state of mind eventually dying by either suicide or someone else by accident, that we are unsure of. This is the main idea that hamlet uses to try and execute his plan. Hamlet slowly starts to appear more of a madman by the day due to his fathers untimely death. He hasn’t actually going mad which is the visual part, but he is slowly executing his plan of his revenge on his fathers death. This eventually leads to his own untimely death along with the person he wanted to get revenge on, his uncle. The Cyprus tree represents death and the quote something is rotten in the state of Denmark foreshadows this theme of death, in hamlet both the quote and the tree foreshadows the tragedy of death in the end.

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The painting- Vision After the Sermon by Gauguin

My quote was, “Lord, we know what we are, but know not what we may be.” This is said my Ophelia in Act 4 Scene 5. During this scene, Ophelia is losing her mind. She recalls her father’s death due to a song and doesn’t know how to act or feel. Ophelia is yelling at Claudius that the future is very uncertain and one could die at any moment. I chose this painting because Vision After the Sermon shows a man wrestling with an angel, while everyone watches. This symbolizes fighting with your inner demons. Going through a hard time and not knowing how to act, while your peers watch from the side. This connects to Ophelia because she is also fighting her own inner demons. She can’t cope with the loss of her father, and is scared with the idea of death. Her family and friends have to watch her lose her mind, not knowing what to do or how to help her. The orange background in Gauguin’s painting illustrates no depth and uncertainty. This is exactly how Ophelia is feeling. She fears the future, for you can only know the present. Gauguin always raised the question as an artist, “What is the meaning of life?” Ophelia doesn’t know what the meaning of life is. She wrecked her brain trying to figure that out after her fathers death. Ophelia tries to raise the question about life, just like Gauguin, but she is too far gone for anyone around her to make sense of what she says. She lost her mind trying to know what the future holds.

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Ghost - ‘Tis given out that, sleeping in my orchard,

A serpant stung me / but know, thou noble youth,

The serpant that did sting thy father’s life

Now wears his crown. (Act I.v.35-39)

This quote by the Ghost to Hamlet in Scene 1 is when the Ghost (King Hamlet) reveals to Hamlet that he was killed by Claudius. This causes Hamlet to become eager to avenge his fathers death.

I chose this painting because of the man and woman and because of the eerie feeling that the painting gives off. One of the main features of this painting is the architecture and how it’s advancing or changing in Paris at this time. The major industrial changes that Caillebotte shows within his paintings can be similar to the major change that Hamlet experienced with losing his father. Within this painting there is also many social classes, and within the play we also see many social classes. Specifically, the Ghost expresses that Claudius now wears his crown, so we can see a change in social class that Claudius (along with Gertrude) went through during the beginning of the play. In the painting there is a man and woman walking towards the viewer as they look to the left. To the right of them, there is a man who is partially cut out of the painting walking in the opposite direction. The man and woman represent Claudius and Gertrude who are walking and looking away from King Hamlet (Ghost) who is being cut out of the kingdom/their lives.

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Quote: “To be honest, as this world goes, is to be one man picked out of ten thousand.” -Hamlet

Painting: Les Demoiselles d’Avignon by Picasso

The reason I chose this painting in connection with Hamlet’s quote is because of the context of Hamlet’s situation and the insinuations of his rhetoric. Prior to this scene, Claudius allows Polonius to spy on Hamlet in order to see what his intentions are. In doing so, Polonius is overwhelmed with Hamlet’s strange questions and answers, because many of them have salacious undertones. Hamlet at first jokes accusing Polonius of being a “fishmonger” which is quite pejorative in its meaning; it could mean a prostitute’s pimp, a person that “fishes” for information, or a person whose daughters are prolific breeders of children. Kind of a strange first impression to someone you’ve just met, but Hamlet then mentions something about what he’s reading, and Polonius questions it, and Hamlet replies “words, words, words,” which can also be an implication to the reader that he got the term “fishmonger” from the book he was reading, which in my opinion is probably what happened. Connecting this to Les Demoiselles d’Avignon by Picasso, the image depicts multiple prostitutes at a brothel and it can be assumed that lower, working, or even upper class men are paying to see them; this in turn reveals the reality of the world in that despite paying to watch prostitutes being a “lower-class” behavior, it’s really done by everyone regardless of their wealth. This connects with my quote in Hamlet because the sexual rhetoric expressed by Hamlet and Polonius shows that despite the fact that they’re royalty, they too engage in tawdry matters, and it’s not anything specifically assigned to a social class but everyone really.

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“why, let the stricken deer go weep, the hart ungallèd play, for some must watch while some must sleep, thus runs the world away.”

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This quote was said by hamlet during the scene of everyone watching the play and him finding out that Claudius did in fact kill his father and the ghost was real. I think that the metaphorical deer that’s been shot in this line is referring to Claudius when he realizes that Hamlet knows his secret, he was extremely surprised and almost angry. I think the painting that most represents this line is Guernica. I think this because this painting captures pain, sadness, and death which is what Hamlet has felt this entire play due to Claudius killing his father. The black color used is very representative of death which is a common theme in both. The screaming, ghostly faces remind me of Claudius’s face after he realized what the play was a scene of. He turned ghostly white and immediately made everyone leave. Another thing is that this painting was created in result to a terrible situation and sadness which is the same with the fake play.  hamlet created that out of sadness as well. Overall, I think that Guernica best reflects this scene and lines because of the tragic deaths and sadness that is shown throughout.

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“Thus was I, sleeping, by a brother’s hand,

Of life, of crown, of queen, at once dispatched,”

Act I.v.74-75 Ghost

This quote from the ghost of king hamlet states that he was put to rest by his brother, Claudius. Due to this, he not only lost his life, but also his royalty and wife in an instant. The ghost informs hamlet of this information not only in an effort to seek vengeance, but also as a way to warn Prince Hamlet of the danger that Claudius presents on the throne. In my opinion, the main theme of this quote is loss and knowledge. Due to this, I believe that the modernist painting that relates most directly to the quote is Guernica by Picasso. It is believed that Picasso created this painting Guernica as a piece of work to inform the world of the horrors occurring in the Spanish Civil War, and the death toll that the war presented onto the small town of Guernica. I think that the ghost of king Hamlet informed Prince Hamlet of Claudius’ wrongdoings in a similar fashion. While Guernica informs people of the toil of war, the ghost’s message conveys an idea of injustice and loss that already has been, and could continue to be caused with Claudius at the throne.

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(Nude Descending a Staircase, No. 2 by Duchamp)

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“Why look you now unworthy a thing you make of me. You would play upon me, you would seem to know my stops, you would pluck out the heart of my mystery, you would sound me from my lowest note to the top of my compass - and there is much music, excellent voice, in this little organ, yet cannot you make it speak.”

- Hamlet (III,ii,329-33)

I think this is a fitting piece given the quote considering that Hamlet in Hamlet is talking of how he is being revealed down to the very core by his friends that know how to play upon him. In such the same way, our figure in this piece by Duchamp is in the nude, but more than that, because this is a cubist painting the figure is naked in various moments and positions, completely revealed to us just like how Rosencrantz and Guildenstern seek to reveal Hamlet.

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"Use every man after his desert, and who shall scape whipping? Use them after your own honor and dignity; the less they deserve, the more merit is in your bounty," 

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The Hamlet quote, "Use every man after his desert, and who shall scape whipping? Use them after your own honor and dignity; the less they deserve, the more merit is in your bounty," speaks to the idea of treating others with generosity and compassion beyond what they might deserve. This goes with the painting "The Starry Night" by Vincent van Gogh, which I selected for its representation of perspective and emotion. In "The Starry Night," van Gogh captures a vast, swirling sky over a quiet town, conveying a sense of boundless, almost otherworldly beauty. This depicts the quote's theme of extending one's generosity beyond the confines of merit, much like the painting extends beyond realistic representation to evoke a more in depth, emotional experience. In class, we explored this concept through an exercise where we drew various objects from different angles, revealing that our understanding deepens with varied perspectives. Similarly, van Gogh's choice to portray the night sky with vibrant, dynamic strokes rather than a more literal depiction tells us that there's more to see when one looks beyond the surface. Both the quote and the painting challenge us to reconsider how we judge and value others, showing that true honor lies in our capacity for kindness and generosity, not by what is deserved.

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O, that this too too sullied flesh would melt,

Thaw, and resolve itself into a dew,

Or that the Everlasting had not fixed

His canon ‘gainst self-slaughter!

—Hamlet I.ii.129-132

My quote was shortly after Claudius addressed Denmark publicly of the state of the kingdom. He first mentions late Hamlets death but then counters that sadness with the fact he married late Hamlets wife. This quote represents Hamlets inner thoughts about suicide caused by these events. He thinks about just wanting to disappear. “Resolve itself into a dew”. His sullied flesh is his sadness and mental state. But he also questions his faith in god. He addresses how God: “Everlasting” has not fixed his mental state or made him happy. Even more giving him a reason for his suicidal thoughts. But then his wagers the cost of committing suicide when he remembers God doesn’t approve of suicide. This quote represents his inner thoughts arguing against suicide from the current situation he is left in.

I chose Starry Night by Van Gogh. I believe it captures the feeling of this scene. The blue color palette adds to sadness. I think Van Gogh and Hamlet are similar in their mental states. They both felt this yearning for family. Van Goghs parents never supported him and Van Gogh often felt lonely. After Hamlets fathers death, Hamlet felt lonely and like he lost his entire family. They both are left with fragmented mental states. Van Goghs starry night is a soliloquy shown through painting. He paints after being in a mental asylum. Van Gogh paints his feelings. The Cyprus tree represents death just how Van Gogh questioned suicide. Hamlets soliloquy also shows the same comparison to nature and death. Such as dying being resolving into a dew. He addresses death and contemplates if he should commit suicide. These both represent solitary thoughts you only have when you are alone and expressing them.

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“There is a special providence in the fall of a sparrow.

If it be now, ’tis not to come; if it be not to come, it

Will be now; if it be not now, yet it will come—the readiness

Is all.”

—”Hamlet (V.ii. 192-195)

This quote is from Act V, Scene ii of Hamlet written by Shakespeare . Which comes at a very pivotal and important moment in the play where a mad Hamlet reflects on fate and the inevitability of death in his quest to avenge his father by killing the king. The phrase “special providence in the fall of a sparrow” in the quote suggests that even the smallest events, such as the death of a sparrow, are a part of this life. Hamlet uses this symbolism to express how he is coming to terms with the idea that death is unavoidable and inevitable by stating “it’s not to come.. if it be not now yet it will come.” Which again reinforces the idea of the unpredictable and the notion that it may appear on anyone at any time .“The readiness is all'' indicates that being mentally and spiritually prepared for whatever may come is what truly matters in order to complete his fathers task of avenge and he has accepted every outcome even if it means the loss of his life and mental state.

While examining this quote I felt that the pest painting that related and connected most with this quote from hamlet is “The Starry Night” by Vincent Van Gogh. The first reason why I feel this painting relates best to the hamlet quote was due to the “The Starry Night” in the piece and it’s reflective nature that has elements of unknown and mystery which depicts a vast, swirling night sky filled with stars, which can symbolize the the universe, much like Hamlet’s reflection on fate and “Special providence.” The painting’s vastness and sense of u known provides a viewer with a reflective state of mind which is similar to Hamlet as he reflects on death and how inevitable it is. In addition, Both the painting and the quote dive into deep emotional and existential contemplation. Van Gogh’s turbulent and chaotic sky can be directly connected of Hamlet’s inner turmoil and eventual acceptance of his fate and death. “The Starry Night” captures the same tones of Hamlet’s reflection on fate, readiness, and the acceptance of life’s inevitable events, making it a fitting visual representation of the themes in this quote. Lastly the theme of death and insanity is ever present in this quote and throughout Hamlet but also in “The Starry Night” as with deep examination one can understand the symbolism of the Cyprus Tree in the painting and meaning of death which is the biggest theme of Hamlet. In addition throughout the play and in this quote Shakespeare plays with and incorporates the idea of insanity and one’s “going mad” which is also a correlation to this painting and its background as Van Gogh was a “Tortured artist” l who was always misunderstood and bipolar who went even as far as to cut off his ear during his insanity and even painted “The Starry Night” in an insane asylum where he was held.

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The Course of Empire series by Thomas Cole

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Hamlet’s connection to the Course of Empire series - Caleb Wang

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Hamlet’s connection to the Course of Empire series - Caleb Wang

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“Thus conscience does make cowards of us all, And thus the native hue of resolution Is sicklied o’er with the pale cast of thought.” —Hamlet (III.i.83-85)

The quote from Hamlet spoken by Hamlet himself shows many aspects of the overall themes of Hamlet such as: duty (with Hamlet trying to avenge his father’s death, or Laertes doing the same), war (man against man), and the contrast between seeming and being. This quote is often overshadowed by the other lines from Hamlet’s famous soliloquy such as “To be, or not to be, that is the question” when taken to the broader context of the entire soliloquy and play show Hamlet’s indecision and his internal conflict. This quote shows that he is in the belief that by overthinking it causes inaction this belief is also shared by many romantics and transcendentalists such as Ralph Waldo Emerson’s “self reliance” he declares that belief in one’s self is vital and to embrace nature. In the play Hamlet and the Course of Empire series the nature depicted is not limited to just physical nature but human nature as well which is why these works compliment each other and connect to each other’s messages.

The Course of Empire series by Thomas Cole emphasizes various different states of harmony and conflict of which many Hamlet’s themes also touch upon. Some themes in the Course of Empire series are the nature of man against man with Course of Empire: Destruction. A theme of nature with man working together the ideal lifestyle according to romantics such as Cole in Course of Course of Empire: The Arcadian or Pastoral State. Then a theme of man conquering nature in Course of Empire: Consummation. Lastly a theme of nature conquering man in Course of Empire: The Savage State and Course of Empire: Desolation. By understanding the context and beliefs of Cole and other romantics and transcendentalists it shows the many hidden themes of the Course of Empire series. Romantics and transcendentalists are against the mass production of art and mass production in general and idolize the sublime and profound soul healing effects of nature. By understanding Cole’s beliefs and ideas behind the Course of Empire series it shows the true essence of his paintings. Not just limited to physical nature but also human nature which is more obviously seen in Hamlet.

These works combined show the conflict of nature Hamlet has with himself such as his grief and revenge in the quote which connects to when nature overtakes man in the Course of Empire series which is why the theme of the contrasting of seeming and being is so vital in understanding the quote. As well as the war shown by the quote from Hamlet connects to the conflict in the Course of Empire series with man against man. Lastly the duty shown with the harmony of nature working together with man in Course of Empire: The Arcadian or Pastoral State or in Hamlet’s case his duty and human nature working together with his actions or him gaining the self reliance and determination to avenge his father. Showing how all of the overall themes of hamlet and subtleties in this quotes meanings connect with the romantic era’s beliefs and the themes found in the Course of Empire series by Cole.

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The quote I received was “But howsomeever thou pursues this act Taint not thy mind, nor let thy soul contrive Against thy mother aught” Hamlet (Act I.v.84-85).  The meaning and context of this quote in the text is that while Hamlet is talking to his deceased father for the first time since his death, they discuss avenging his death, and his father warns Hamlet to not lose his values or his mind in the pursuit of killing Claudius. He also tells Hamlet to not hurt his mother out of anger or sadness.

I chose the painting  “The Human Condition” by Renè¨ Magritte because its purpose is similar to the warning of Hamlet’s father. Magritte creates this painting in order to focus on evoking a feeling from the reader rather than to have the reader try and create meaning from the painting, which strives away from previous movements where the focus could include a blend of both meaning and feeling. The painting itself is very uncanny and a bit uncomfortable since the canvas in the window of the painting is covering up what is actually behind it. The canvas blends in with the natural background but it is unclear what could actually be behind it. This connects to my Hamlet quote because similarly both Magritte and Hamlet’s father suggest to not obsess or go crazy over trying to find meaning in the painting and for Hamlet to not obsess or go crazy in his attempt to get revenge. Additionally they are similar in that they both express the unknown. In Magritte’s case it’s the question of what is really behind the canvas, and in Hamlet’s case it’s questioning if the ghost of Hamlet’s father is really real and if not what is it?

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Les Desmoiselles d’Avignon by Picasso

“There are more things in heaven and earth, Horatio,
Than are dreamt of in your philosophy” —Hamlet (I.v. 166-167)

Hamlet reminding Horatio that philosophy does not know everything reminds me of artists rejecting old academic art traditions. Hamlet is suggesting that there’s more to the world than what some certain people have declared and already thought of, like how modernists (artists) were exploring perspectives and concepts beyond what the academy decided was art. In Les Demoiselles d’Avignon, Picasso really pushes ‘what art can be’ by arranging five women in unique collections of shapes, perspectives, and cultures. By doing this, he’s arguing that the variety of perspectives on each subject depicts a more accurate representation of the real world (it’s not just one view). Picasso is viewing the world and the true “beings” of things in a new way, his own way, despite many not understanding, like how Hamlet is convincing his friend that there is reason, his own reason, to putting on an antic disposition and acting mad as part of his plan to avenge his father’s death. In sum, the way Picasso demonstrates that the world can be seen in completely non-traditional perspectives reminds me of how Hamlet says there are many things in the world that are beyond what philosophy explores.

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“Lord, we know what we are, but know not what we may be.” Ophelia says this in Act 4, scene 5. She is in distress after just learning of her father’s death by Hamlet. She’s kind of in shock about the whole thing and is making up songs and acting pretty strange and out of the ordinary. This scene is happening in the great hall at the castle and Gertrude is conversing with her and trying to console her. I translated this text to be simply “no one knows what the future holds”, or more literally to the text, “Today is known, but tomorrow is not”. I feel like this is kind of a turning point for Ophelia because she’s thinking about if she wants a future at all, and later, we found out that she probably ended her life. I think it’s really interesting how she was mentioning that no one can predict for certain what will happen in the future, and the next scene with her in it, she’s getting buried.

The painting that I think represents this quote is Impression: Sunrise by Monet. I chose it because I feel like it kind of encapsulates the unknown, and therefore the future. The blurred lines and loose brush strokes show Ophelia’s sense of shock and confusion. She doesn’t have answers to any of her questions and all she knows is that the man she loves just killed her father. She’s not thinking of anything else and I can bet that her brain would be kind of scrambled. The only really clear line she says within this whole scene is the quote that I got. She’s not really making sense in anything else she’s saying or singing. In the painting, the sun is super clear. It’s arguably the only aspect of the painting that has dimension and it’s super bright compared to the background. I know that Monet used complementary colors exactly for this reason but I think it’s really cool to have such a vast difference in a painting. A sunrise in itself can represent hope and light and love. But it can also reveal uncertainty or an inaccurate preview of a day. Beautiful sunrises don’t always mean sunshine and blue skies all day. And vice versa, a cloudy and dark sunrise does not always mean that it’s going to rain all day. Sunrises prove that the future is uncertain and so did Ophelia at the end of Hamlet.

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Quote:

“See you now-

Your bait of falsehood take this carp of truth” (Polonius, II.i.60-61).

For some context, Polonius is speaking to his servant Reynaldo to spy on his son in Laertes, who is in Paris, to ensure he is behaving well. Polonius wants Reynaldo to lie to Laertes to entice him to reveal the truth. Polonius wants Reynaldo to spy on Laertes in Paris, confront him, and pursue him to confess by lying as bait to “catch” the truth. Polonius wants to know if his son is partaking in mischief in France by gambling or fencing, so he orders Reynaldo to “fish” out the truth by lying to get Laertes to reveal the truth. I believe this quote relates to the infamous “Starry Night” by Vincent Van Gogh because they’re both impressions of something. Polonius speculates that his son is up to no good in Paris, so he sends Reynaldo out to spy on him, revealing a a dark struggle with the truth and trust. Van Gogh doesn’t paint this piece “en plain air” and is painting a scene from when he visited the Netherlands as a child. Van Gogh paints this from a window in an asylum. Van Gogh’s piece is an impression of a place he once visited and captures his views and interpretations of that place, similar to how Polonius has a bad impression on his son and tells Reynaldo about the devious troubles he’s in without actually knowing if they’re true. Both relate to the theme of truth. Polonius battles with the truth of his son’s actions and viewers of The Starry Night battle with the truth of the piece because it is an interpretation of the place in the Netherlands and doesn’t accurately represent it because it’s just an artist’s impression of it. The piece has a dark backstory behind it because Van Gogh didn’t like it and he struggled mentally. This theme of darkness is also seen in the scenario in Hamlet because Polonius is ordering someone to spy on his son, which is very shady. I also believe the quote relates to the surrealist movement because Polonius wants to give the impression that he trusts his father to be alone and behave well in Paris. He doesn’t want to directly confront his son and ask if he’s behaving well because he wants to create the idea that he can trust his son, but in reality, he is suspicious about his son and asks a servant to inspect him and manipulate him to reveal the truth.

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My quote was “When sorrows come, they come not single spies. But in battalions” Act 4 Scene 5 77-78. This reflects Claudius' word into which it means that he reflected that sorrows never come along, but all together. He shows “sparrows” that besiege him. He had listed the troubles that beset him to make him feel this way : Polonius death, Hamlet's exile, suspicious citizens, the secret burial of Polonius, and Ophelia’s madness. The painting that I have picked was “Vision After the Sermon” and that we have discussed in class shows this painting to you as a work about the struggle of temptation, the pain of love, and the conflict of the artist. I feel like this connects to Hamlet because in the way that Claudius is having many troubles besetting him and this painting shows a struggle that Gauguin has having. In the painting there is a vision of a praying woman and a wrestling match and trying to fight the struggles that you have inside you.  Also in the painting the red background is another reference to the presence of God.

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“Vision After the Sermon” by Paul Ganguin.

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Abby Monk— “There’s a divinity that shapes our ends, rough-hew them how we will…”—Hamlet (V.ii.10-11)

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Abby Monk— “There’s a divinity that shapes our ends, rough-hew them how we will…”—Hamlet (V.ii.10-11)

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My assigned quote from Hamlet is “There’s a divinity that shapes our ends, Rough-hew them how we will…”. On my first reading, the word that immediately stood out to me as most important was “divinity”, which I was not surprised by given the religious undertones of Hamlet and Shakespearien literature in general. However, with closer inspection, it became apparent that there was a more pessimistic view of God in this quote than was typical of the religious period it was written in.

The quote implies that because a divine force “shapes our ends”, humans are by default powerless to change their fates or whatever happens to them. We see this theme recur in the 20th century art and literary movement of Modernism, which followed the chaos and public disillusionment of World War I. Modernists leaned into the loss of trust in the institutions that led to the Great War, including the churches and organized religion.

No better example of this exists than Ganguin’s Vision After the Sermon, which depicts David, a biblical figure, wrestling with an angel as churchgoers look on. The painting captures the inner turmoil many people felt after coming out of WWI, symbolized by man wrestling with an agent of God. This message in Ganguin’s painting contrasts with Hamlet’s quote; in Vision After the Sermon, we see an active struggle between a human and a higher power, while in the quote it seems as if though Hamlet has more or less accepted the fact that there are some aspects of life that he cannot control, stated in the second line, “Rough-hew them how we will…”.

By juxtaposing the quote with the painting, we can see that while both works tie into Modernist themes of disillusionment and its impact on religion, Ganguin resists the futility of individual action while Hamlet more or less embraces it.

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“This above all: to thine own self be true, And it must follow, as the night the day, Thou canst not then be false to any man”- Polonius

In the quote above polonius talks about being true to who you are and to not put a fake front to anyone or be double faced in a sense. Before this he speaks of how Laertes should be a good person but not to give himself away or give too much of himself to others. I think he means this in a sense of not giving much importance to those around him, to be true to himself, I think it’s because at the end of the day people will take what you say are do and interpret themselves. The sun will always be the sun no matter what even with the changing days and if it’s brighter on some days, Monet paints it in a brief moment with fast and disorganized brush strokes just more a less catching how he sees the sun. Despite this not being as clean and close to the real thing like realism, most if not all people will see that it is still a sunrise. Much like in the quote I think it's important to be true to yourself because even if people see you one way or another, you will still be you beyond it all. People can look at laertes or hamlets and say one is vengeful, one is hateful or insane. But if they had acted true to who they really were, people will see it and they’ll know they aren’t just insane or hateful people. Laertes and Hamlet may have died, but it was for the people they cared for the most, and they didn’t try to leave it in the past because for them that wasn’t right.

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Nocturne in Black and Gold - The Falling Rocket (By Whistler)

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“Seems madam? Nay it is, I know not seems.” - Hamlet (I.ii.76) (Nika Dauksys)

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“Seems madam? Nay it is, I know not seems.” - Hamlet (I.ii.76) (Nika Dauksys)

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In this sentence, Hamlet is talking about his genuine grief for his father's passing. His mother, Gertrude questions if his mourning is serious in a way, and Hamlet, retorts that he is not merely acting, but he is. In the way of the sentence, he is not “seeming” but he actually “is”. He actually is this upset, he really is. He’s not pretending, he is. This is just the start of showing how complex his emotions really are, and how it seems no one believes him. Nocturne in Black and Gold - The Falling Rocket by Whistler, has a similar feeling in a way. It “seems” like it just, paint splattered everywhere, but it’s not. It’s bordering on the abstraction, but still rooted in reality. Is “is” still a thing. I feel like it can a way reflex the confusion people get when trying to comprehend Hamlet’s confusion. Especially this artwork, the public didn’t like it as much, there was a court case against the painting because an art critic said Whistler was “flinging a pot of paint in the public’s face”. They never understood it, just as no one took the time to understand Hamlet’s true grief.

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Orange And Yellow (Mark Rothko) -Madaleine 

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Orange And Yellow (Mark Rothko) -Madaleine 

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“Thy commandment all alone shall live within the book and volume of my brain” -Hamlet (I.v.102-103)

Orange and yellow by mark rothko can make one Feel and think many different ways, I believe there is a connection between this painting and my quote because of the ideas surrounding deep thought. when Hamlet had said “Thy commandmen all alone shall live within the book and the volume of my brain." He was assuring the ghost that as wishes would only stay within Hamlets own thoughts, to be shared with no one. In the painting Orange and yellow there are many layers to be observed much like someones thoughts. The contrast of the painting can resemble the contrasts of ones thoughts, meaning how many thoughts one is wiling to share, and how many will never be told to another, the dark color resembles now many thoughts hamlet had not shared with any other person, and the light can resemble the things worth Of Sharing.

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“If thou didst ever thy dear father love-Revenge his foul and most unnatural murder”

This painting’s setting seems similar to the one in the quote. When Hamlet talks to the ghost of his father, it is a dark and eerie midnight where the “air bites shrewdly and an eager air” (act 1, scene 4). Nocturne in Black and Gold captures a fleeting moment in time, evident in the movement in fireworks depicted in the painting. Similarly, the ghost’s time speaking with Hamlet is limited too. Right before revealing the true cause of his own death, King Hamlet tells Hamlet that his “hour is almost come”(act 1 scene 5), adding a sense of rush for the two people to make the most of the restricted time they're given together. The sparks in Nocturne and Gold can be seen as a sort of passion and devotion to family, hence filial piety. Or, they can also be seen as a representation of King Hamlet, as he is a significant but short-lived moment in that night. His ghost saying this quote is significant because the information he shares with Hamlet changes the trajectory of the story from a simple mystery to a quest of revenge. Hamlet begins to see things in a different headspace of reality and begins to interpret things differently (audience interpretation is also a key characteristic is Nocturne in Black and Gold). He questions the good/evil in the ghost and his trust toward his uncle and mother. Similarly, Whistler’s work is also seen as a transition—from realism to modernism. Modernism is defined as ‘a wide range of experimental trends that deliberately and forcefully break from the past’ and both Nocturne in Black and Gold and this quote accurately provide an example of this. The painting was painted in a rarely seen before abstract way. Even art critic Ruscan criticized this painting for its ambiguity and lack of skill, which Whistler got upset and sued Ruscan.

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“O, that this too too sullied flesh would melt,

Thaw, and resolve itself into a few,

Or that the Everlasting had not fixed

His canon ‘gainst self-slaughter!”

In this quote, Hamlet expresses his desire to die and mourns that God (“the Everlasting”) forbids suicide. These lines express Hamlet’s conflict between his desires and what he perceives as his duty— in this case, his duty is to follow the word of God. This conflict between Hamlet’s feelings and his duty, which he feels he must do, is seen throughout the entire play; the ghost of Hamlet’s father tells Hamlet to kill Claudius and avenge his death, but Hamlet devises a scheme to prove Claudius’s guilt because Hamlet has moral qualms. Hamlet also loves Ophelia, but he also hurts her deeply while pretending to be mad (in order to try to catch Claudius), harassing her with various innuendos and insulting her.

I think Vision After the Sermon fits this quote because it showcases a struggle between man and divinity, paralleling Hamlet’s internal conflict between his religious belief and his personal desires. The spectators in the painting are similar to the people around Hamlet, watching him struggle with his grief. The distorted, flattened perspective of the painting and the bright orange of the background express a feeling or urgency, and a sort of unreality; the painting is meant to show not a photorealistic portrayal, but a portrait of how Gauguin perceives the world, how he thinks about the scene; it parallels Hamlet’s mental state at this point in time; his grief, his anger at his mother, and his perceived duty, all battling against each other while Gertrude and Claudius watch on; Vision After the Sermon is a vision of Hamlet’s mind.

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“So full of artless jealousy is guilt, It spills itself in fearing to be spilt.” - Gertrude (IV.v.19-20)

In this line, Gertrude expresses that guilty people give themselves away through being unable to hide their fear of being found out. By giving this line in an aside, Gertrude implies she could potentially have knowledge of Claudius killing her late husband, and is simply complicit. Alternatively, it could reference how Claudius himself was unable to keep himself from reacting to the play depicting his crime and his hasty actions to send Hamlet away to prevent anything else from happening.

The use of the word “jealousy” to describe guilt additionally adds to the quote, implying that those with guilt are jealous of those without for not needing to hide their actions. Also, jealousy has connotations of envy, mistrust, and suspicion directed at others, with doubt and uneasiness directed at one’s own abilities.

The painting The Starry Night by Van Gogh has similar references to darker subjects that are somewhat covered up, though revealed by it’s creator. While the painting itself is of a scene somewhat of reality and full of bright colors, Van Gogh strewn many references to death and his own depressed mental state in it. One such is the large Cyprus tree shown in it, which represents death. Additionally, the subject of the night sky itself could reference both a calming feeling, or the end of something and the death that follows.

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“Remember thee? Ay thou poor ghost, whiles memory holds a seat. In this distracted globe. Remember thee?” - Hamlet

I think the quote is saying how the ghost (Hamlet's father) is explaining how he was killed and wants Hamlet to prove it but without hurting others during the process.

I chose Guernica to connect with because there is so much happening in the painting with the war going on, people dying and people becoming ghosts in this  painting. The ghosts in the painting connect to the quote because Hamlet is speaking to the ghost which is his father. It also connects because everyone in Guernica is being killed and Hamlet’s father was killed by Claudius. The painting was such an outstanding painting because Picasso is showing how he feels about the war towards  Guernica because Guernica is a small town in Spain and Picasso was born in Spain. In a later scene in Hamlet, Hamlet decides to reenact his fathers death which is kind of similar to the painting with Picasso with his painting he is expressing his feelings and putting them on a canvas. Also in the painting there is so much happening you don’t really know where to first look, and in the quote it says “In this distracted globe.” in that sentence it connects towards the painting because you don’t know where to start looking in the painting. Also to connect the quote to the painting, the sentence is “whiles memory holds a seat”, in the painting it holds so many awful memories of what had happened in Guernica and all the tragedies that happened there. Lastly, “Remember thee?”, this part of the quote also connects to the painting because everyone who was there in Guernica or knows about it will always remember it and never forget it.