Harry Jackson, (American, 1924 - 2011), is primarily known for his Western works, having started sketching horses at the age of five. His short lived interest in Abstract Expressionism lasted less than a decade, but in that time he developed his own unique style and created a whole body of work in itself. After years of painting only Western, realistic art, he saw the Jackson Pollock painting "The Moon-Woman Cuts the Circle". It affected him so much that he stated that the painting "shot the first crack of daylight into my blocked-off brain." Inspired, he moved to New York in 1946 to study with Rufino Tamayo and Hans Hofmann. He quickly befriended Jackson Pollock, Willem de Kooning and David Smith amongst many other Abstract Expressionists, and began creating abstract art of his own. In 1949 he spent 6 months painting in Mexico, where he did a series of well known and important abstract collages. Returning to New York, his inclusion in Meyer Schapiro and Clement Greenberg's "Talent 1950" exhibit at the Kootz Gallery fast tracked him to the forefront of the movement, and he continued his abstract work with a successful one man show at Tibor de Nagy in New York in 1952. Then his art took an unlikely turn: as he wrote in his sketch book, "I am forced to grope back into the past for the means to proceed into the future." Something, he felt, was missing in his work. Despite his success in the Abstract world, he felt more and more drawn back towards Western art. He left for Europe with his wife, Joan Hunt, and began obsessively frequenting museums and sketching their masterworks. Arriving back home 8 months later, he was left to sort out his learnings and create his own path. By his next one man show at Tibor de Nagy, he had returned to his roots of Western and more realistic art, the realm in which he remained until his death in 2011. The works below are from the collection of Joan Hunt and are some of his most stunning examples of this moment in art history, the height of the Abstract Expressionist Movement, as well as the studies and portraits which represent the start of his return to realism.