Large-Scale Painting – Why Do Some Artists Think Big?

From Michelangelo’s monumental frescoes to contemporary abstract compositions, large-scale painting has always attracted artists eager to push beyond the limitations of the canvas. The size of a painting influences not only its visual impact but also the way it is perceived—large canvases surround the viewer, drawing them into the depicted world. For some painters, a grand format provides a space for experimentation, while for others, it serves as a tool to emphasize the expression and energy of the artwork. The examples of Jackson Pollock, Frank Stella, and Andrzej Fogtt illustrate different approaches to painting on a massive scale.

Jackson Pollock, one of the most significant figures in Abstract Expressionism, revolutionized large-scale painting through his action painting technique. His enormous canvases emerged through a dynamic process—paint was poured, splattered, and dripped onto the surface in an intuitive, highly energetic manner. Pollock treated the canvas as an arena of action, moving around it while painting, often laying it directly on the floor. As a result, works such as Number 1, 1950 and Autumn Rhythm were not just paintings but records of movement, traces of the artist’s energy. The large format not only allowed him the freedom of gesture but also enabled the creation of compositions without a clear focal point, engulfing the viewer with their entire surface.

 

Jackson Pollock „Convergence” 1952

 

Frank Stella, unlike Pollock, did not focus on spontaneous expression but rather on the precise construction of form. His large-scale works, particularly from the Irregular Polygons and Protractor Series, are geometric, colorful compositions that often extend beyond the traditional rectangular shape of the canvas. Stella experimented with the spatial dimension of painting, making his works almost sculptural. In his case, the large format was not meant to convey emotion but to emphasize structure and the relationships between colors and shapes. His works, though monumental, are characterized by strict control and precision, standing in complete contrast to Pollock’s wild expression.

 

Frank Stella „Avra Variation” 1969

 

Andrzej Fogtt also works with a large format, but his approach uniquely combines expression and structure. His painting is distinguished by intense colors, pulsating energy, and dynamic forms that seem to almost float in space. Unlike Stella, his compositions are not confined within geometric frames but are full of freedom and movement, though not as chaotic as Pollock’s works. His art reveals an inspiration drawn from both physical and mental space—Fogtt’s paintings appear to extend beyond their own boundaries, engaging the viewer with their scale and intensity.

 

Andrzej Foggt „Bdra” 2020

 

Pollock, Stella, and Fogtt each utilize the monumental format in different ways, but in every case, the size of the artwork plays a crucial role in its reception. Pollock treated the large canvas as an arena of action, where movement and gesture were the main elements. Stella, on the other hand, used large-scale paintings to create controlled, rigorous structures. Fogtt, while drawing from expression, does not surrender to complete chaos—his works balance between freedom and form. Their approaches demonstrate that a large format is not merely a matter of scale but also of concept—it allows painters to experiment with space, dynamics, and the way art interacts with the viewer.