In the sum­mer of 1950, Hans Namuth approached Jack­son Pol­lock and asked the abstract expres­sion­ist painter if he could pho­to­graph him in his stu­dio, work­ing with his “drip” tech­nique of paint­ing. When Namuth arrived, he found:

A drip­ping wet can­vas cov­ered the entire floor. Blind­ing shafts of sun­light hit the wet can­vas, mak­ing its sur­face hard to see. There was com­plete silence.… Pol­lock looked at the paint­ing. Then unex­pect­ed­ly, he picked up can and paint­brush and start­ed to move around the can­vas. It was as if he sud­den­ly real­ized the paint­ing was not fin­ished. His move­ments, slow at first, grad­u­al­ly became faster and more dance­like as he flung black, white and rust-col­ored paint onto the can­vas.

The images from this shoot “helped trans­form Pol­lock from a tal­ent­ed, cranky lon­er into the first media-dri­ven super­star of Amer­i­can con­tem­po­rary art, the jeans-clad, chain-smok­ing poster boy of abstract expres­sion­ism,” one crit­ic lat­er wrote in The Wash­ing­ton Post.

But Namuth was­n’t sat­is­fied that he had real­ly cap­tured the essence of Pol­lock­’s work. He want­ed to cap­ture Pol­lock in motion and col­or, to focus on the painter and paint­ing alike.

Above, you can watch the result of Namuth’s sec­ond effort. The ten-minute film, sim­ply called Jack­son Pol­lock 51 (the 51 being short for 1951), lets you see Pol­lock paint­ing from a unique angle — through glass. The film achieved Namuth’s aes­thet­ic goals, but it came at a price. Appar­ent­ly the film­ing taxed Pol­lock emo­tion­al­ly, and by the evening, the painter decid­ed to pour him­self some bour­bon, his first drink in two years. A blowout argu­ment fol­lowed; Pol­lock nev­er stopped drink­ing again; and it was down­hill from there…

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Relat­ed Con­tent:

MoMA Puts Pol­lock, Rothko & de Koon­ing on Your iPad

Steven Spiel­berg Admits Swal­low­ing a Tran­sis­tor to Andy Warhol