Like "Autumn Rhythm," this is a large classic "drip" painting, but one in which the lines and dots achieve a cosmic density.

Namuth took more photographs, capturing the beginning stages of "Autumn Rhythm: No. 30, 1950."

Before they leave, Ms. Spero and he make a last stop at Pollock's "Autumn Rhythm."

But with 'Autumn Rhythm,' Pollock allowed the form to emerge out of the materials and out of the process.

So is the incomparable abstract "Autumn Rhythm" (1950), which hangs on the opposite wall.

The first, "Autumn Rhythm" (1950), is one of the grandest of the drip paintings, a dense entanglement of brown, white, black and blue lines.

"I love 'Autumn Rhythm' and I love that it's here," he says.

All of that is in evidence in the sublime "Autumn Rhythm" in the Met's 20th-century galleries.

His biggest triumphs are, of course, the classic paintings from 1950: "Autumn Rhythm," "No. 32" and "One."

Isabelle recognized "Autumn Rhythm" from a distance and trotted toward it, raising her arms as if to embrace it.