![]() "Abstract Expressionism: Works on Paper, Selections from The Metropolitan Museum of Art," March 11–June 4, 1995, no. "Franz Kline: Art and the Structure of Identity," December 11–February 5, 1995, no. "Franz Kline: Art and the Structure of Identity," September 27–November 21, 1994, no. Museo Nacional Centro de Arte Reina Sofía. "Franz Kline: Art and the Structure of Identity," July 8–September 11, 1994, no. "Franz Kline: Art and the Structure of Identity," March 18–June 5, 1994, no. "Abstract Expressionism, Works on Paper: Selections from The Metropolitan Museum of Art," May 4–September 12, 1993, extended to November 7, 1993, no. "Abstract Expressionism, Works on Paper: Selections from The Metropolitan Museum of Art," January 26–April 4, 1993, no. "Abstract Expressionism, Other Dimensions: An Introduction to Small Scale Painterly Abstraction in America, 1940-1965," March 25–June 13, 1990, no. "5000 Years of Art: An Exhibition from the Collections of The Metropolitan Museum of Art," December 4, 1976–October 2, 1977, no. "Business Buys American Art," March 17–April 24, 1960, no. In this case, the central black shape is a mirror image of the shape in a black and white untitled painting of 1954. He often drew inspiration for large compositions from small studies, and he also continued explorations of key elements in works even years after their creation. The sweeps and rapid brushings of both thick and diluted paint are the product of much meditation. Kline's work, so apparently spontaneous or impulsive in its emphasis on highly dramatic gestural brushstrokes, is, in fact, carefully considered. Black Reflections, an intensely colored small work on paper, may in fact relate to an earlier black and white piece. I don't have the feeling that something has to be completely non-associative as far as figure form is concerned." In 1956, Kline reintroduced color. Kline acknowledged this residue of imagery: "There are forms that are figurative to me, and if they develop into a figurative image … it's all right if they do. For many, even these works of complete abstraction still evoke figural references (to various landscapes or urban scenes of industry, or to trees or other referents). Large-scale black and white compositions of energetic, dramatic gestures in which wide swaths of paint thrust across the canvas. By late 1950, he was exhibiting abstract work that immediately brought him success. As a means to break free of figurative representation, Kline experimented with a Bell-Opticon enlarger (in de Kooning's studio) to project some of his small drawings in large scale, and he made a leap toward abstraction. By that time, he was ready to concentrate on formal concerns, and his friendship with Willem de Kooning helped pave the way. Kline arrived at Abstract Expressionism later than others, having continued working in a figural style redolent of American Scene painters into the late 1940s.
0 Comments
Leave a Reply. |