弗兰兹·克莱恩抽象表现主义作品

关于弗兰兹·克莱恩 The Search For Franz Kline

弗兰兹·克莱恩（Franz Kline）与他的作品

如果有一位画家可以毕生致力于挖掘潜意识的深处，那就是弗兰兹·克莱恩。克莱恩的早年生活充满了痛苦。弗兰兹·克莱恩七岁时父亲去世，母亲不久将他遗弃在孤儿院并再婚。后来，弗兰兹·克莱恩自己的妻子经常患上精神疾病，经常进出精神病院。再加上整个世界在 1940 年代经历的生存动荡，弗兰兹·克莱恩的个人斗争使他成为抽象表现主义社区中出现的关于潜意识和神秘启示的理想代表。

If ever there was a painter who could have devoted an entire lifetime to mining the depths of the subconscious it was Franz Kline. Kline’s early life was fraught with pain. His father died when Franz was only seven years old, and his mother soon after abandoned him to an orphanage and remarried. Later, Franz’s own wife suffered frequent bouts of mental illness and spent time in and out of mental institutions. Combined with the existential turmoil the entire world was experiencing in the 1940s, Kline’s personal struggles made him the ideal representative of the ideas about the subconscious and mystical revelation that were emerging within the Abstract Expressionist community.

Light Mechanic, 233.6 x 171.7 cm.19

60. 成交价：USD 20,000,000

© 2018 The Franz Kline Estate/Artists Rights Society (ARS), New York

和他同时代的许多人一样，弗兰兹·克莱恩最初是受过具象画家的训练。他的早期作品表现出对形式技术的出色掌握和先进的绘画天赋。在结识了威廉·德·库宁、杰克逊·波洛克、罗伯特·马瑟韦尔、汉斯·霍夫曼和菲利普·古斯顿等纽约学派的成员后，他转变为抽象派。通过他们的影响，弗兰兹·克莱恩缩小了他的注意力，探索了大型动作画中笔触的本质，这些动作画由一个简化的黑白调色板组成。但是看看他早期的作品，虽然本质上是具象的，比如画盒里的木偶，揭示了一些相同的笔触和对构图和色彩的原始把握，这些抽象风格最终使他成名。

As with many of his contemporaries, Kline was originally trained as a figurative painter. His early artworks show an excellent grasp of formal technique and an advanced talent for drawing. He transitioned into abstraction after befriending members of the New York School, such as Willem de Kooning, Jackson Pollock, Robert Motherwell, Hans Hoffman and Philip Guston. Through their influence, Kline narrowed his focus, exploring the nature of brush strokes in large-scale action paintings that consisted of a simplified, black and white palette. But a look at his earlier works, although figurative in nature, such as Puppet in the Paint Box, reveals some of the same brushstrokes and raw grasp of composition and color that defined the abstract style that ultimately made him famous.

弗兰兹·克莱恩（FranzKline）在他的工作室，1954 年，与他的两幅标志性黑白画作一起登上《生活》杂志的封面。©2018 弗朗兹克莱恩庄园/艺术家权利协会(ARS)，纽约

极简主义的关联

The Minimalist Link

尽管他与抽象表现主义纽约画派画家的创始成员是朋友，并且今天仍然与他联系在一起，但弗兰兹·克莱恩的作品在一个具体而重要的方面与他们的不同。当其他抽象表现主义者挖掘他们自己的感受、直觉和潜意识情感，并利用它们创作出非常个人化且充满隐藏意义的作品时，弗兰兹·克莱恩创作的作品则与绘画的形式品质有关，如颜料、笔触、组成和颜色。

Even though he was friends with, and is still today associated with the founding members of the Abstract Expressionist New York School painters, Kline’s oeuvre is different from theirs in a specific and important way. While the other Abstract Expressionists were mining their own feelings, intuitions and subconscious emotions and using them to create works that were deeply personal and rife with hidden meaning, Kline made work that was about the formal qualities of painting, such as paint, brush stroke, composition and color.

FranzKline-无题-机车。©2018 弗兰兹·克莱恩庄园/艺术家权利协会(ARS)，纽约

他借用了他的抽象表现主义者同伴们设计的手势绘画技巧，并以此发展了自己独特的、活跃的、身体的风格。但弗兰兹·克莱恩标志性的动作画并没有神秘主义或隐藏意义。此外，弗兰兹·克莱恩

He borrowed the gestural painting technique that had been devised by his fellow Abstract Expressionists, and with it developed his own distinct, active, physical style. But there was no mysticism or hidden meaning in Kline’s iconic action paintings. Furthermore, Kline’s painterly compositions weren’t spontaneous and instinctive like the works of Pollock, but rather were planned out ahead of time, often sketched in detail on pages of old phonebooks.

Drawing related to Painting No. 2. 1954

弗兰兹·克莱恩没有解释或分析他作品的内容，而是鼓励观众简单地与标记和构图本身互动，而不是寻求象征意义或意义，而只是与艺术的形式品质互动。这些作品都是关于他标志性的笔触和周围负空间的独特审美欣赏。

弗兰兹·克莱恩认为作品的情感影响可以完全通过欣赏这些形式品质来体验，并坚持认为这是最重要的关注点。通过这种个人风格，他成为抽象表现主义的神秘主义和极简主义所接受的形式主义之间的一种联系。

Rather than explaining or analyzing the content of his works, Kline encouraged viewers to simply interact with the marks and compositions themselves, not seeking symbolism or meaning but simply interacting with the formal qualities of the art. These works were all about the singular aesthetic appreciation of his signature brush strokes and the surrounding negative space. Kline felt that the emotional impact of the work could be experienced entirely through an appreciation of these formal qualities, and insisted that that was the most important thing on which to focus. Through this personal style he became a sort of link between the mysticism of the Abstract Expressionists and the formalism embraced by the Minimalists.

FranzKline-无题-摇椅。©2018 弗兰兹·克莱恩庄园/艺术家权利协会(ARS)，纽约

与德库宁的关联

The de Kooning Connection

关于弗兰兹·克莱恩

弗兰兹·克莱恩已经成为抽象大师的最常被重复的故事是这个：他已经在制作手势动作画，尽管规模很小。这些作品，如《无题-机车》和《无题-摇椅》，都是 1946 年的作品，包含了最终定义他后来风格的笔触、线条、颜色和构图的所有原材料。相传，弗兰兹·克莱恩的朋友威廉·德库宁鼓励弗兰兹·克莱恩将这些小画作大部分投射到墙上，放大到可以简单地欣赏单独的笔触。

The most oft-repeated story about Kline’s evolution into an abstract master is this one: He was already making gestural action paintings, albeit on a small scale. These pieces, such as Untitled – Locomotive, and Untitled – Rocking Chair, both from 1946, contain all of the raw materials of stroke, line, color, and composition that would eventually define his later style. According to legend, Kline’s friend Willem de Kooning encouraged Kline to project these small paintings largely onto the wall, so enlarged that he could simply appreciate the individual brush strokes on their own.

威廉·德·库宁 1904 年 4 月 24 日-1997 年 3 月 19 日，荷兰裔美国画家。

与艺术界的所有故事一样，这个故事也有反对者。然而，这是否是一个基于事实的神话是无关紧要的。从他 1940 年代后期的作品中可以明显看出，弗兰兹·克莱恩已经朝着隔离他笔迹的形式性质和特征的方向发展。无论是德库宁建议他大面积创作，将笔触带入不朽的焦点，还是他自己提出这个想法，都没有太大区别。不管怎样，到 1950 年，他已经完全接受了大规模工作的想法。那一年，他在纽约查尔斯·伊根画廊举办了他的第一次个展，将他和他的大型笔触画作《酋长》等介绍到了美国。

As with all stories from the art world, this one has its nay-sayers. Whether it’s a myth based in fact or not, however, is irrelevant. It is evident from his work in the late 1940s that Kline had already been moving in the direction of isolating the formal nature and features of his brush marks. Whether it was de Kooning who recommended that he work large, bringing the brush strokes into monumental focus, or he came up with the idea himself doesn’t make much difference. Either way, by 1950 he had fully embraced the idea of working large. That year he received his first solo exhibition at New York’s Charles Egan Gallery, which introduced him and his large-scale brush stroke paintings, such as Chief, to America.

Franz Kline -Chief, 1950, 布面油画, 58 3/8 x 73 ½ in. © 2018 The Franz Kline Estate/Artists Rights Society (ARS), New York

“酋长”是弗兰兹·克莱恩从小就喜欢铁路的机车的名字。许多观众在弗兰兹·克莱恩的图像中看到了机械，当它们冲出画布边缘时，有一些暗示速度和力量的线条，随着它们的移动而绷紧。但克莱恩声称“不是我所看到的，而是我所看到的感觉”，而 Chief 是抽象的，一个由循环和曲线打破的水平和垂直不均匀的框架。

弗兰兹·克莱恩的配置的密码般的品质，以及他对黑白的使用，引起了与日本书法的比较，但克莱恩并不认为自己是在白底上画黑色符号。“我既画白色也画黑色，”他说，“而白色同样重要。”

"Chief" was the name of a locomotive Kline remembered from his childhood, when he had loved the railway. Many viewers see machinery in Kline’s images, and there are lines in "Chief" that imply speed and power as they rush off the edge of the canvas, swelling tautly as they go. But Kline claimed to paint "not what I see but the feelings aroused in me by that looking," and "Chief" is abstract, an uneven framework of horizontals and verticals broken by loops and curves. The cipherlike quality of Kline’s con-figurations, and his use of black and white, have provoked comparisons with Japanese calligraphy, but Kline did not see himself as painting black signs on a white ground; "I paint the white as well as the black," he said, "and the white is just as important."

CyTwombly-无题，1951，布面工业颜料，85x101 厘米。©2018 弗兰兹·克莱恩庄园/艺术家权利协会(ARS)，纽约

弗朗茨克莱恩老师

Franz Kline the Teacher

在整个 1950 年代，弗兰兹·克莱恩变得更加出名和更有影响力。在此期间，他在几个不同的机构任教，包括黑山学院和布鲁克林的普拉特学院。在他的学生的作品中，最明显的是他们愿意探索自己与手势、标记制作和身体的关系。克莱恩最著名的学生之一是抽象画家 Cy Twombly，他于 1951 年在黑山师从克莱恩学习。托姆布雷自己的标志性风格是一种高度个性化的动作绘画形式，深受克莱恩的技术影响。

Throughout the 1950s Kline became more famous and more influential. He taught at several different institutions during this time, including the Black Mountain College and Brooklyn’s Pratt Institute. What is most evident in the work of his students is their willingness to explore their own relationship to gesture, mark making and physicality. One of Kline’s most famous students was the abstract painter Cy Twombly, who studied under Kline in 1951 at Black Mountain. Twombly’s own iconic style is a highly individual form of action painting profoundly influenced by Kline’s technique.

弗兰兹·克莱恩-奥利弗国王，1958 年，布面油画，251.4x196.8 厘米。©2018 弗朗兹克莱恩庄园/艺术家权利协会(ARS)，纽约

FUntitled. 1951

Untitled II. c. 1952

在 1950 年代后期，克莱恩扩展了他的风格，包括更广泛的调色板。在 1958 年绘制的《奥利弗国王》等作品中，他标志性的个人风格仍然很明显，他的手势笔触也是如此。但是增加的调色板为作品增加了新的维度，将注意力从标记的质量上转移到对绘画其他形式质量的更深入检查中。由于他的作品被收录在纽约现代艺术博物馆举办的名为“新美国绘画”的巡回展览中，克莱恩在他生命的这一时期获得了国际声誉，该展览于 1958 年在欧洲巡回演出。

In the late 1950s, Kline expanded his style to include a wider color palette. In pieces such as King Oliver, painted in 1958, his iconic personal style is still evident, as are his gestural brush strokes. But the increased color palette adds new dimensions to the work that draw attention away from the qualities of the marks and into a deeper examination of the other formal qualities of the painting. Kline achieved international notoriety in this period of his life thanks to his work being included in a traveling exhibition staged by New York’s MoMA called The New American Painting, which toured Europe in 1958.

Painting Number 2. 1954

Crosstown《贯穿市镇》，油彩画布，122.6x165.7 cm，1955 年作，成交价：USD 12,041,250

《先生》款識：藝術家簽名、書題目並紀年’59（背面）油彩畫布，242.6 x 200.7 公分

Untitled (Study for Mahoning II). 1960

Le Gros. 1961

1962 年，Franz Kline 因心力衰竭突然去世。尽管他从未见过极简主义和后绘画抽象主义等运动的全面开花，但他对抽象表现主义标记制作的形式品质的关注无疑导致了他们的智力发展和他们的批判性成功。通过克莱恩的标志性艺术作品，我们看到一座概念桥梁正在发生。他作为艺术家和教育家的工作鼓励他这一代和后代的许多人将绘画视为对象而不是媒介或中介来获得超越体验，并协助 20 世纪后期的现代主义寻求保持创造力和自由。

Franz Kline died suddenly in 1962 of heart failure. Though he never lived to see the full blossoming of movements such as Minimalism and Post-Painterly Abstraction, his focus on the formal qualities of Abstract Expressionist mark making definitely led to their intellectual development and their critical success. Through Kline’s iconic artworks, we see a conceptual bridge take place. His work as an artist and an educator encouraged many in his own generation and future generations to consider paintings as objects rather than mediums or intermediaries to transcendent experiences, and assisted late 20th Century Modernism in its quest to stay inventive and free.

【更多艺术家】

约翰·詹姆斯·奥杜邦：画鸟的人

张璇：以世界绘世界

曲丰国：描绘时间的人

George Condo：他只描绘小人物，侃爷、权志龙却争相收藏。

极简主义之父：唐纳德·贾德