Slika koja je proslavila Франц Клајн je Mahoning (1956); nalazi se u muzeju Whitney Museum of American Art, Njujork. Black, White, and Gray (1959) i Untitled (1959) slede nakon njih u srcima kolekcionara i posetilaca muzeja. Od 53 dela umetnika Франц Клајн u našem katalogu, ovih 53 su najcenjenija, a svako je predstavljeno sa datumom nastanka, muzejom i onim što ga izdvaja.
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In the pantheon of Abstract Expressionism, few works command the room with such visceral authority as Franz Kline’s “Mahoning,” completed in 1956. To stand before this monumental canvas is to witness a profound dialogue between presence and absence, a struggle captured in the rhythmic collision of black enamel and stark white space. This is not merely a painting; it is an event. As a cornerstone of the New York School,…
Franz Kline’s *Black, White, and Gray*, executed in 1959, stands as an emblem of Abstract Expressionism's core ethos – a paradoxical blend of deliberate process and unrestrained artistic impulse. More than just pigment on canvas, it embodies the spirit of a generation grappling with existential questions while simultaneously striving for visceral emotional resonance.
The canvas titled Untitled emerges from the hands of Franz Kline, a presence that commands the space it occupies. Created in 1959, this work exists as a significant expression of the Abstract Expressionism movement. It carries the weight of a specific moment in time, capturing a sense of raw, unmediated energy that defines the era. The piece arrives not as a window into a landscape, but as a direct encounter…
The canvas holds New York, N.Y., an oil on canvas painting by Franz Kline. Created in 1953, this work belongs to the Abstract Expressionist movement. It exists as a collision of heavy, dark gestures against a pale ground.
In the pantheon of Abstract Expressionism, few works command the immediate, visceral attention of a room quite like Franz Kline’s Zinc Yellow. Completed in 1959, this monumental canvas serves as a breathtaking masterclass in reductive abstraction, where the boundaries between color and form dissolve into a singular, energetic event. At first glance, the viewer is met with an expansive, luminous field of yellow that seems to vibrate against the stark,…
Franz Kline’s “Untitled,” painted in 1956, stands as a cornerstone of American Abstract Expressionism—a movement defined by its rejection of representational imagery and embrace of spontaneous gesture. More than just pigment on canvas, this artwork embodies the profound influence of Kline's personal history and his unwavering dedication to capturing the essence of feeling through uncompromising artistic process.
This monochromatic photograph, dated 1959, captures a candid scene within a dense, wooded environment. The upper two-thirds of the frame are occupied by a heavy canopy of trees and foliage, creating a sense of enclosure through layered, organic lines. Natural daylight filters through the leaves, producing sharp highlights on certain surfaces while casting deep, dark shadows across the background. In the midground, several figures are positioned within a clearing. To…
Kline was married to a ballet dancer, Elizabeth Parsons, who, like the famous Russian dancer Nijinsky, suffered from schizophrenia. Kline made several portraits of Nijinsky during his early…
Soon after it was made, this celebrated canvas was shown at the Whitney Museum Annual, and thereafter in almost every retrospective of Kline’s work. During his day, and…
The painting "Untitled" by Franz Kline is a masterpiece of abstract expressionism, characterized by its bold brushstrokes and vibrant colors. Created in 1961, this large-scale acrylic on canvas…
Kline arrived at Abstract Expressionism later than others, having continued working in a figural style redolent of American Scene painters into the late 1940s. By that time, he…
Četiri teme koje se najčešće pojavljuju među ovim remek-delima, sa najboljim primerom za svaku od njih.
8 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Франц Клајн | Slike iz ovog spiska |
|---|---|---|---|
 Smithsonian American Art Museum |
Vašington, D.C. | 5 | Untitled, Palmerton, Pa., Untitled |
 Muzej finih umetnosti u Bostonu |
Boston | 3 | Black on Green, Red, and Yellow, Gray Abstraction, Probst I |
 Metropoliten музеј у Њујорку |
Њујорк | 2 | Black, White, and Gray, Untitled |
 Worcester Art Museum |
Vorčester | 2 | Untitled, Untitled |
 Whitney Museum of American Art |
Njujork | 1 | Mahoning |
 Albright-Knox Art Gallery |
Njujork | 1 | New York, N.Y. |
 Chrysler Museum of Art |
Norfolk | 1 | Zinc Yellow |
 Cleveland Museum of Art |
Klivlend | 1 | Accent Grave |
In the pantheon of Abstract Expressionism, few works command the room with such visceral authority as Franz Kline’s “Mahoning,” completed in 1956. To stand before this monumental canvas…
Mahoning (1956), Whitney Museum of American Art, Njujork. Sledeći su Black, White, and Gray (1959) i Untitled (1959).
46 godina: Mahoning datira iz 1956, a Франц Клајн je rođen/a 1910.
Mahoning, Black, White, and Gray, Untitled, New York, N.Y., Zinc Yellow, Untitled, Untitled, Study for "Flanders", Untitled i Frederick Blumenstein. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 53 dela umetnika Франц Клајн, datiranih od 1938 do 1961.
Većina njih se nalazi u Smithsonian American Art Museum (Vašington, D.C.), Muzej finih umetnosti u Bostonu (Boston) i Metropoliten музеј у Њујорку (Њујорк). U tabeli iznad su muzeji navedeni jedan po jedan.
U periodima 1940s: 18 od ukupno 53 dela na ovoj stranici datiraju iz tog vremena, od čega je Frederick Blumenstein.
Najstarije delo na ovoj stranici je iz Circus Scene (1938), a najnovije iz Study for "Flanders" (1961).
Black and white (4), Geometric forms (4) i Black and white art (4), od ukupno 53 dela na ovoj stranici.
Oil On Canvas: 3 od ukupno 53 dela na ovoj stranici.
Abstract expressionism, kao što pokazuju slike na ovoj stranici.
Untitled, Palmerton, Pa. i Untitled su među 5 dela na ovoj stranici koja se nalaze u Smithsonian American Art Museum, Vašington, D.C..
