what influenced jackson pollock's work?
Mark Tobey Thomas Hart Benton Joan Miró Max Ernst John D. Graham Pablo Picasso
entailment
 French writer Prosper Mérimée first proposed the subject of Cleopatra and Caesar in a letter sent to Gérôme in December 1860 . La Païva , a wealthy French courtesan , later commissioned the painting from Gérôme , intending it for display in the Hôtel de la Païva , her mansion on the Champs @-@ Élysées . According to American art critic Earl Shinn , the work was originally painted on silk and was designed as a " transparency to be lowered or raised midway of a long saloon " in La Païva 's mansion , " which it was desirable to divide occasionally into two " . 

entailment
 Cott possessed considerable artistic skill . Like Abbott Thayer , he used his artistry in his scientific work , including in Adaptive Coloration in Animals , to help argue the case he was making . For example , his black @-@ and @-@ white potoo shows this rainforest bird sitting motionless on a mottled tree trunk , its behaviour and disruptive pattern combining to provide effective camouflage . The philosopher and jazz musician David Rothenberg wrote of Cott 's art : 

entailment
 The influence continued through the 20th century . Gerald Kelly recalled Bertin when painting his restless and confined series of portraits of Ralph Vaughan Williams in 1952 – 61 . In 1975 Marcel Broodthaers produced a series of nine black and white photographs on board based on Ingres ' portraits of Bertin and Mademoiselle Caroline Rivière . 

entailment
 Jackson Pollock 's drip painting style has a definite fractal dimension ; among the artists who may have influenced Pollock 's controlled chaos , Max Ernst painted Lissajous figures directly by swinging a punctured bucket of paint over a canvas . 

contradiction
 The use of black and white is regarded as dramatic , and although it may have been influenced by 1940s and 1950s works of Willem de Kooning , Franz Kline and Robert Motherwell , it is more likely a commentary on Mondrian 's 1917 Composition in Black and White . Alternatively , it may have been a reference to another of Mondrian 's Pre @-@ World War I black and white oval paintings , such as Pier and ocean , 1915 . This complementary source art was common of Lichtenstein 's 1960s work on frequently advertised objects . Lichtenstein describes his sources as Mondrian Plus and Minus paintings . 
