Franz Kline
Among the leading painters of post-World War II Abstract Expressionistmovement, Franz Kline developed his own highly personal form of art based more on"spontaneous expression in abstract design of the artist's psychic states."1 Abstractexpressionism saw representation as the exact opposite of their main aim in painting. "Formal issues" such as color, lines, and shapes without recognizable representation iswhat Kline, like many other abstract expressionists, strove to portray in their paintings. They were individuals that were foraging their own way into the art world. Mainly anartist of impact, Kline's work was forceful and boldly dramatic, which characterized hisaggressiveness and raw energy. Best known for his robust black-and-white abstractions,his zealous brushwork seemed to manifest the energy and gestures produced in the act ofpainting. In this paper I will argue how Kline's unique form, also referred to as actionpainting, was affected by his background and other artists, how his work was notinfluenced or represented Chinese calligraphy, and why he should be set aside from other The Pennsylvania native originally was a representational painter, that used a style
Others thought that it was symbolism more thancalligraphy that Kline was trying to portray. A couple years after moving to New York, he sparked aninterest in abstraction and reduced the elements of his old style. "10 It was as if his painting was something hehad no control over, and that painting in black-and-white was happening to him by sometype of force running through him. In response to a question by Katherine Kuh,Kline responded with this insight. One of Kline's works, Cage I, (see attached picture) is an example of Kline'sachievements of making "a structural cohesion of plane, mass, and directional thrust" incolor abstraction. It was carefully planned out and even more slowly and purposely painted. Although this work did notrepresent any type of calligraphy, it wasn't simply lines thrown together in a paintingeither. They range from the industrial forms pertinent to Kline's childhood, like steelbridges, to those of New York, like sky scrapers, to allusions of the human condition. "7One work in particular, Mahoning (see attached picture), was thought to look likeChinese characters blown up many many sizes to a huge scale. "2 Kline's new style wascompletely influenced by this new form of abstraction, especially how he used thematerials and what types he used. As quoted he said, "People sometimes think I takea white canvas and paint a black sign on it, but this is not true. Held at the Egan Gallery in1950, his show led critics to compare his art to oriental calligraphy because of itssimplicity. Painting strictly in black-and-white allowed him toisolate and magnify value contrast. He gradually phased out figurative imagery between1946 and 1950 with his reliance on color.
Common topics in this essay:
Art London,
Franz Kline,
Pollack12 Kline's,
Kline's Cage,
Kuh Kline,
Abstract Expressionist,
Jackson Pollack,
Aaron Siskind,
Kooning Kline's,
Cubists Cubists,
kline's paintings,
act painting,
value contrast,
definite experience,
abstract expressionist,
oriental calligraphy,
decide advance i'm,
advance i'm,
don't decide,
decide advance,
abstract expressionism,
paint definite experience,
don't decide advance,
advance i'm paint,
definite experience act,
|
Acceptance Essays
