Tom and Jack

October 1, 2009
Examination of two brilliant painters whose personal and professional relationship affected the rise of American art in the first half of the 20th century.

Adams (American Art/Case Western Reserve Univ.; Eakins Revealed, 2005, etc.) captures the story of the strange symbiosis between Thomas Hart Benton (1889–1975), a regionalist and realist painter, and Jackson Pollock (1912–1956), a trailblazer in early Abstract Expressionism who became world-renowned for the drip-painting technique he used in his later works. On the surface, the two men's creative approach was wholly disparate. Benton favored Americana murals that evoked the working class, creating paintings that made a sharp social statement with vivid color and dynamic movement. Pollock's works suggest universalism within their chaotic sweeps and layers of paint; each seemingly undefined canvas invites the viewer to contemplate both the immensity of imagination as well as the smallness of self. However, the author makes the cogent argument that each painter's artistic viewpoint, and creative technique, stemmed from the same series of influences that include Rodin, Matisse, Russell and MacDonald-Wright, as well as rhythmic and structural components first used by those involved in the Synchromist movement (circa 1912). Pollock absorbed these aesthetic principles as Benton's student, and then executed paintings in an entirely innovative way. This allowed Pollock, a man whose adulthood was marred with what later scholars suspect was bipolar disorder (accompanied by bouts of alcoholism) to position himself as unique in an emerging modern-art scene. The potent combination of timing and talent provided Pollock with an opportunity to expand his creative reach, and he studied the works of other artists while approaching the most productive period of his life—but he never abandoned those techniques that were instilled in him as an inchoate artist under Benton's tutelage. Though Adams's prose could use some polish, his portrayal of Benton's impact on Pollock's formative thinking brings new light to Pollock's murky process.

An interesting story rife with personal drama and satisfying artistic detail.

(COPYRIGHT (2009) KIRKUS REVIEWS/NIELSEN BUSINESS MEDIA, INC. ALL RIGHTS RESERVED.)

Starred review from November 1, 2009
Adams, author of Eakins Revisited (2005), practices art history with a novelists narrative skills and psychological acuity, a sleuths instincts, a passion for aesthetic and technical explications, and a gift for sea change interpretations. In this utterly absorbing, carefully reasoned inquiry into the profound relationship between two painters, one reviled, the other worshiped, Adams reclaims the wrongfully maligned Thomas Hart Benton and recalibrates our perception of Jackson Pollock and his masterpieces. Benton hid his true cultured self behind the mask of a semi-literate hillbilly, just as his technical virtuosity is concealed within his controversial murals. An exemplary teacher as well as a trailblazing artist, Benton was mentor and father figure to Pollock. It is no exaggeration, writes Adams, to say that Benton created Pollock as an artist. Adams cracks the secret of Bentons rhythmic flow approach to composition, tracing its roots to the forgotten synchromism movement and its colorful creators. Adams then offers arresting insights into Pollocks life and work, from his utter dependence on Benton and problematic adoration for Bentons wife to the harrowing consequences of his bipolar disorder and his complex inspirations, from Jungian analysis to Asian mysticism. Encompassing a stunning discovery by his art-historian wife, Adams commanding, corrective double portrait reveals myriad camouflaged truths.(Reprinted with permission of Booklist, copyright 2009, American Library Association.)