Pollock and Krasner moved to a house at 830 Springs-Fireplace Road in Springs, East Hampton, which they’d purchased with a $2,000 down payment from Guggenheim. Unlike today’s playground for the rich, East Hampton back then was rural, and the property had been a farmstead with a small barn that became Pollock’s studio. The barn’s interior was barely large enough to accommodate the canvases Pollock rolled out onto the floor, restricting him to working along a shallow perimeter between the walls and the painting. In winter he could work just a couple of hours each day, since the space was unheated. Pollock used household enamel diluted to a syrupy consistency, using stirring sticks as tools along with brushes. Thinned pigments and drips weren’t exactly new: Whistler had used a washy concoction he labeled “sauce,” while Max Ernst had developed a technique called oscillation in which he hung a paint-filled can above a canvas, swinging it back and forth as pigment trickled through a hole punched in the bottom. There was also the little-remembered, self-taught painter Janet …