spatial structure of the painting while simultaneously dividing and uniting the composition. Although Newman's paintings appear to be purely abstract, and many of them were originally untitled, the names he later gave them hinted at specific subjects being addressed, often with a Jewish theme. Two paintings from the early 1950s, for example, are called Adam and Eve (see Adam and Eve), and there are also Uriel (1954) and Abraham (1949), a very dark painting, which, in addition to being the name of a biblical patriarch, was also the name of Newman's father, who had died in 1947. Newman's late works, such as the Who's Afraid of Red, Yellow and Blue series, use vibrant, pure colors, often on very large canvases. Jackson Pollock, Adolph Gottlieb, Hans Hofmann, Barnett Newman, Clyfford Still, Mark Rothko, Robert Motherwell, Ad Reinhardt and Arshile Gorky (in his last works) were among the prominent abstract expressionist painters that Greenberg identified as being connected to color field painting in the 1950s and 1960s. Although Pollock is closely associated with action painting because of his style, technique, and his painterly 'touch' and his physical application of paint, art critics have likened Pollock to both action painting and color field painting. Another critical view advanced by Clement Greenberg connects Pollock's allover canvases to the large-scale Water Lilies of Claude Monet done during the 1920s. Greenberg, art critic Michael Fried, and others have observed that the overall feeling in Pollock's most famous works – his drip paintings – read as vast fields of built-up linear elements often reading as vast complexes of similar valued paint skeins that read as all over fields of color and drawing, and are related to the mural-sized late Monets that are constructed of many passages of close valued brushed and scumbled marks that also read as close valued fields of color and drawing that Monet used in building his picture surfaces. Pollock's use of all-over composition lend a philosophical and a physical connection to the way the color field painters like Newman, Rothko and Still construct their unbroken and in Still's case broken surfaces. In several paintings that Pollock painted after his classic drip painting period of 1947–1950, he used the technique of staining fluid oil paint and house paint into raw canvas. During 1951 he produced a series of semi-figurative black stain paintings, and in 1952 he produced stain paintings using color. In his November