s his distinctive contribution to American art and, thus, the paintings that led to it would be considered mainly as its predecessors. But when Pollock's entire career is brought into focus, it becomes clear that he followed a consistent line of development. He did not make great leaps to successive styles -- instead they developed from the ones that preceded them.
Moszynska, with her concentration on the influence of European abstraction, dismisses Jackson's early Regionalist-inspired work. His early work "once he had shed the influence of his regionalist teacher, Thomas Hart Benton" was primarily concerned with myth and his formal direction was the result of his interest in Mexican muralists such as Rivera and Orozco (Moszynska 149). Pollock's interest in the unconscious and the bold style of his subdivided, mural-like canvases such as Panel with Four Designs (1934-1938) (Anfam 72-73) seem, to Moszynska, to simply be replaced by themes from nature. Thus in a painting such as Shimmering Substance (1946), mythic concerns are set aside and image
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