Relationship between avant-garde art and American pop culture brush strokes and in techniques partially dictated by chance, such as dripping or spilling the paint directly onto the canvas. Examples of this include Jackson Pollock dripping commercial paints on raw canvas to build up complex and tangled skeins of paint into exciting and suggestive linear patterns and Willem de Kooning used extremely vigorous and expressive brush strokes to build up richly colored and textured images. The second category of Abstract Expressionism is represented by a variety of styles ranging from Color field, to Lyrical abstraction; delicate imagery and fluid shapes and fields of color included in works by Clyfford
Autumn Rhythm (Number 30) involved working on unprimed canvas laid on the floor of his studio, pouring paint from cans or using sticks, heavily loaded brushes and other implements to control a stream of paint as he dripped and flung it onto the canvas. At 17 feet wide and 8 feet high", Autumn Rhythm" is among Pollock's largest pictures. The creation of "Autumn Rhythm" was partly documented by Hans Namuth, who photographed Pollock at work over several months in 1950. According to art historian Monica Bohm-Duchen, Namuth's photographs lend insight to the sequence in which Pollock filled in the canvas, and the order in