Born and trained in Germany, he moved to America during the Nazi era. His specialty was geometric abstraction and color study. Albers' work represents a transition between traditional European art and the new American art. His work incorporated European influences from the constructivists and the Bauhaus movement, and its intensity and smallness of scale were typically European. However, his influence fell heavily on American artists of the late 1950s and the 1960s. "Hard-edge" abstract painters drew on his use of patterns and intense colors, while Op artists and conceptual artists further explored his interest in perception.

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Gracias por las visitas, amables comentarios e invitaciones

Thank you for the visits, kind comments and invitations

Antoni Tàpies is a Spanish Catalan painter. He is one of the famous artists of European abstract expressionism. He is perhaps the best-known Catalan artist to emerge in the period since the Second World War. In 1948, Tàpies helped co-found the first Post-War Movement in Spain known as Dau-al-Set which was connected to the Surrealist and Dadaist Movements.

Tàpies started as a surrealist painter, his early works were influenced by Paul Klee and Joan Miró; but soon become an abstract expressionist, working in a style known as "Arte Povera", in which non artistic materials are incorporated into the paintings. In 1953 he began working in mixed media; this is considered his most original contribution. One of the first to create serious art in this way, he added clay and marble dust to his paint and used waste paper, string, and rags.

His international reputation was well established by the end of the 50s. From about 1970 (influenced by Pop art) he began incorporating more substantial objects into his paintings, such as parts of furniture. Tàpies's ideas have had worldwide influence on art, especially in the realms paintings, sculpture, etchings and lithography.

Oil on canvas; 213.4 x 142.1 cm.

Paul Jackson Pollock (January 28, 1912 – August 11, 1956), known as Jackson Pollock, was an influential American painter and a major figure in the abstract expressionist movement. He was well known for his unique style of drip painting.

During his lifetime, Pollock enjoyed considerable fame and notoriety, a major artist of his generation. Regarded as reclusive, he had a volatile personality, and struggled with alcoholism for most of his life. In 1945, he married the artist Lee Krasner, who became an important influence on his career and on his legacy.[1]

Pollock died at the age of 44 in an alcohol-related, single-car accident; he was driving. In December 1956, several months after his death, Pollock was given a memorial retrospective exhibition at the Museum of Modern Art (MoMA) in New York City. A larger, more comprehensive exhibition of his work was held there in 1967. In 1998 and 1999, his work was honored with large-scale retrospective exhibitions at MoMA and at The Tate in London.[2][3]

In 2000, Pollock was the subject of the film Pollock, directed by and starring Ed Harris, which won an Academy Award.

en.wikipedia.org/wiki/Jackson_Pollock

Oil on canvas; 225.4 x 200 cm.

Gerhard Richter (born 9 February 1932) is a German visual artist and one of the pioneers of the New European Painting that emerged in the second half of the twentieth century. Richter has produced abstract as well as photorealistic paintings, and also photographs and glass pieces. His art follows the examples of Picasso and Jean Arp in undermining the concept of the artist's obligation to maintain a single cohesive style.

In October 2012, Richter's Abstraktes Bild set an auction record price for a painting by a living artist at £21 million ($34 million).[1] This was exceeded in May 2013 when his 1968 piece Domplatz, Mailand (Cathedral square, Milan) was sold for $37.1 million (£24.4 million) in New York.[2] This was further exceeded in February 2014 when his painting Abstraktes Bild sold for £30.4 million in London at Sotheby's Contemporary Evening Sale.[3]

en.wikipedia.org/wiki/Gerhard_Richter

Gouache, pastel, oil, and wax on paper; 36.3 x 31.4 cm.

Yayoi Kusama (草間 彌生 or 弥生 Kusama Yayoi?, born March 22, 1929) is a Japanese artist and writer. Throughout her career she has worked in a wide variety of media, including painting, collage, sculpture, performance art and environmental installations, most of which exhibit her thematic interest in psychedelic colors, repetition and pattern. A precursor of the pop art, minimalist and feminist art movements, Kusama influenced contemporaries such as Andy Warhol and Claes Oldenburg.[1] Although largely forgotten after departing the New York art scene in the early 1970s, Kusama is now acknowledged as one of the most important living artists to come out of Japan, and an important voice of the avant-garde.

Born in Matsumoto, Nagano into an upper-middle-class family of seedling merchants,[2] Kusama started creating art at an early age, going on to study Nihonga painting in Kyoto in 1948. Frustrated with this distinctly Japanese style, she became interested in the European and American avant-garde, staging several solo exhibitions of her paintings in Matsumoto and Tokyo during the 1950s. In 1957 she moved to the United States, settling down in New York City where she produced a series of paintings influenced by the abstract expressionist movement. Switching to sculpture and installation as her primary mediums, Kusama became a fixture of the New York avant-garde, having her works exhibited alongside the likes of Andy Warhol, Claes Oldenburg and George Segal during the early 1960s, where she became associated with the pop art movement. Embracing the rise of the hippie counterculture of the late 1960s, Kusama came to public attention when she organized a series of happenings in which naked participants were painted with brightly colored polka dots.

In 1973, Kusama moved back to her native Japan, where she found the art scene far more conservative than that in New York. Becoming an art dealer, her business folded after several years, and after experiencing psychiatric problems, in 1977 she voluntarily admitted herself to a hospital, where she has spent the rest of her life. From here, she continued to produce artworks in a variety of mediums, as well as launching a literary career by publishing several novels, a poetry collection and an autobiography.

Kusama's work is based in conceptual art and shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. Kusama is also a published novelist and poet, and has created notable work in film and fashion design. Major retrospectives of her work have been held at the Museum of Modern Art, the Whitney Museum, and Tate Modern, whilst in 2008 Christies New York sold a work by her for $5.1 million, then a record for a living female artist.

en.wikipedia.org/wiki/Yayoi_Kusama

This was the extent of the abstractions for this summer. This little one was based on a memory of a summer lake.....I didn't get a chance to visit that lake very often....listening to the buzz of a few motorboats off in the distance....how I coveted that perfect blue, and the imagined freedom of summer lake life.

Acrylic

Kazimir Malevich was born near Kiev in the Russian Empire. His parents were ethnic Poles. It remains a mystery of 20th century art, how, while leading a comfortable career, during which he just followed all the latest trends in art, in 1915 Malevich suddenly came up with the idea of Suprematism. The fact that Malevich throughout all his life was signing and re-signing his works using earlier dates makes this u-turn in his artistic career even more ambiguous.

In 1915 he published his manifesto From Cubism to Suprematism. In 1915-1916 he worked with other Suprematist artists in a peasant/artisan co-operative in Skoptsi and Verbovka village. In 1916-1917 he participated in exhibitions of the Jack of Diamonds group in Moscow together with Nathan Altman, David Burliuk and A. Ekster. Famous examples of his Suprematist works include Black Square (1915) and White on White (1918).

Black Square, the fourth version of his magnum opus painted in the 1920s, sold at a state auction in Russia for the equivalent of one million dollars. The work was purchased by the Russian philanthropist, Vladimir Olegovich Potanin, who donated it to the State Hermitage Museum. On November 3, 2008 a work by Malevich entitled Suprematist Composition from 1916 set the world record for any Russian work of art and any work sold at auction for that year, selling at Sotheby’s in New York City for just over $60 million U.S. (far surpassing his previous record of $17 million set in 2000).

Critics derided Malevich for reaching art by negating everything good and pure: love of life and love of nature. The Westernizer artist and art historian Alexandre Benois was one such critic. Malevich responded that art can advance and develop for art's sake alone, regardless of its pleasure: art does not need us, and it never needed us since stars first shone in the sky. Malevich's work only recently reappeared in art exhibitions in Russia after a long absence. Since then art followers have labored to reintroduce the artist to Russian lovers of painting. A book of his theoretical works with an anthology of reminiscences and writings has been published. Many stains on his reputation in Russia remain, however.

Abstract Expressionism, MoMA

As the third son of the Chu family, Teh-Chun was born on 24 October 1920 in Baitou Zhen, in the province of Jiangsu. This agricultural region of China made up of plains, watercourses and canals and which is also called the ‘water country’ will mark him deeply and give the artist Chu Teh-Chun a luminous palette. He comes from a prosperous family of medical doctors, who are collectors of traditional Chinese painting.

In 1935, he enters the National School of Fine Arts in Hangzhou where he meets his contemporary Zao Wou-Ki. At the time not just traditional painting was taught; painters who had lived in France had brought back art reviews and reproductions of Renoir, Matisse, Picasso and Cézanne which fascinate Chu Teh-Chun. With impressionism, he discovers another technique and another vision of art.

The declaration of the Sino-Japanese war on 7 July 1937 leads to a relocation of the school inside the country. During this exodus which lasts two years, Chu Teh-Chun discovers the depth of the Chinese countryside and remembers extraordinary landscapes.

At the end of his studies in 1941, he is immediately appointed as an assistant professor. He teaches in the architecture department of the central University of Nankin from 1944 to 1949. He then becomes a professor in Taipei and then in Taiwan, while continuing his exhibitions.

His status ensures he has a comfortable existence, but he nonetheless dreams of leaving to divest himself of academic conventions. So he therefore leaves China in 1955, at the age of 35 with his wife Ching-Chao. During the long journey which brings him to Europe, he makes a stopover in Cairo where he discovers Pharaonic art, which is his first real contact with western art. He arrives in France, a mythical country discovered during his studies through its painters and he sets up home in Paris.

Modern art then enters Chu Teh-Chun’s life. He leaves a frozen world for a world in movement. 1955 is the year of Nicolas de Staël’s death, Mark Tobey proposes his exhibition ‘the Movement’ at Jeanne Bucher’s premises, the Denise-René gallery presents the kinetic art of Agam, Pol Bury, Calder, Duchamp and Vasarely. Chu Teh-Chun discovers that the painters’ media and materials are different from those which he knows. One year after his death, the City of Paris National Museum of Modern Art holds a Nicolas de Staël retrospective. This event has a lasting impact on Chu Teh-Chun who is moved by the embedded, architectural shapes in ranges of restrained colours. He draws inspiration from them in his own paintings and replaces the traditional urban views which he painted at his arrival in Paris by a free proliferation of lively colours with material effects. Nature, its landscapes and its climatic phenomena are always his main sources of inspiration. Chu Teh-Chun’s painting ‘is a place of colours and shapes, born

He begins to exhibit his work in galleries from the years 1958-60. Thus he holds his first exhibition in the Legendre gallery and is noticed by critics. Maurice Panier, the artistic director of the Legendre gallery, offers him an exclusive contract for six years, which enables Chu Teh-Chun to invest in a workshop. He meets other artists from the gallery, some of whom such as Kijno or the sculptor Féraud will become his friends. And he becomes part of Parisian artistic life.

Abstraction then becomes a necessity for the Chinese artist. For him, it is a language which becomes incessantly renewed and which allows him to communicate more easily, with greater spontaneity and freedom of movement. His paintings are rich and it is difficult to retrace the path of the artist’s hand, to find a start and an end to it.

In 1983, he is invited by the department of Fine Arts of the University of Hong Kong to be on the final year examining board. The Chinese Union of Artists offers him an opportunity to rediscover his own country which he had not visited for 28 years. He then happily re-explores the China of his childhood. Invited for a second time in 1986, he shows a retrospective of his work at the Taipei national History Museum in 1987. He has been out of his country for thirty-two years and this is the first time that he is showing all of his work.

During the 1990s, he sets up home in Vitry-sur-Seine in Val de Marne and has a vast well lighted workshop. He now favours large formats, diptychs and triptychs, which he exhibits throughout Europe, the United States and the Far East. Major monographs are published and he is awarded several public commissions.

The years after 2000 are the symbol of recognition of Chu Teh-Chun’s work. In 2001, he becomes a Chevalier of the Order of Academic Palms and is then appointed as a Chevalier of the Legion of Honour by the President of the French Republic. He accompanies Jacques Chirac to Beijing in the context of the year of France in China. The latter describes him, like Zao Wou-Ki, as ‘symbols (…) of the meeting between cultured Chinese tradition and contemporary French painting’ and awards him the title of Officer of the National Order of Merit in 2006. In the same year, Chu Teh-Chun receives the European Gold Medal of Merit in Luxembourg.

The final proof of the establishment of his work is his first personal exhibition at the Marlborough Gallery in New York in May-June 2006.

2008

The National Museum Of History, Taipei (China), Exhibition 88 Retrospective (19/09 - 23/11)

2009

Malborough Fine Art Gallery, London, from March, 4th to 28th

Musée Guimet, Paris, De neige, d’or et d’azur (Of snow, gold and azure), 56 ceramics vases, from June, 10th to September, 7th.

www.jbastien-art.be/UK/artists_detail.awp?P1=Chu_Teh-Chun

I can't remember who the artist of this piece was, but I can tell you that I waited absolutely AGES for this shot.

Gouache on board; 24.1 x 24.8 cm.

Ben Nicholson was an English artist whose austere geometric paintings and reliefs were among the most influential abstract works in British art. The son of the painter Sir William Nicholson, he briefly attended the Slade School of Fine Art in London in 1910–11, but he was largely self-taught. He traveled extensively in Europe between 1911 and 1914, and in 1917 he visited California, keeping a detailed record in sketches of architecture and landscape. About 1920 he began to paint seriously, creating still lifes and landscapes in a conventionally realistic style. During a trip to Paris in 1921, Nicholson saw Cubist works, which influenced his first semi-abstract still lifes; in 1924 he executed his first completely abstract painting.

During the 1920s, along with the sculptors Barbara Hepworth (who became his second wife) and Henry Moore, Nicholson was instrumental in introducing Continental Modernism into English art. In 1933 he and Hepworth joined the Paris-based Abstraction-Création group, an artists’ association that advocated purely abstract art. He also met the Dutch painter Piet Mondrian, under whose influence Nicholson’s work took on a greatly simplified geometry; typical of this period are his low reliefs of whitewashed circles and rectangles, such as White Relief (1937–38). He was co-editor with the artist Naum Gabo and the architect Sir Leslie Martin of Circle, a manifesto published in 1937 to promote Constructivism and other modern art styles in England.

In the 1940s Nicholson returned to landscape and still-life themes, often painting simplified representations of still-life motifs within otherwise largely abstract compositions. In his later work he continued to shift between modes of abstraction and representation.

Acrylic

Theo van Doesburg was a Dutch painter, writer, poetand architect. He is best known as the founder of De Stijl. After a short training in acting and singing he decided to become a painter. His first exhibition was in 1908. Although he considered himself to be a modern painter at that time, his early work is in line with the Amsterdam Impressionists and is influenced by Vincent van Gogh. This suddenly changed in 1913 after reading Wassily Kandinsky's Rückblicke. It made him realize there was a more spiritual level in painting that originates from the mind rather than from everyday life, and that abstraction is the only logical outcome of this. In 1915 he came in contact with the works of Piet Mondrian, who was eight years older, and had by then already gained some attention. Van Doesburg saw in these paintings his ideal in painting: a complete abstraction of reality. Van Doesburg got in contact with Mondrian, and together with several other artists founded the magazine De Stijl in 1917.

Van Doesburg was the 'ambassador' of the movement, promoting it across Europe. He moved to Weimar in 1922, deciding to make an impression on the Bauhaus principal, Walter Gropius. While Gropius accepted many of the precepts of contemporary art movements he did not feel that Doesburg should become a Bauhaus master. Doesburg then installed himself near to the Bauhaus buildings and started to attract school students interested in the new ideas of Constructivism. Dadaism, and De Stijl. In 1923 Van Doesburg moved to Paris. During 1924 Doesburg and Mondrian had disagreements, which eventually led to a (temporary) split. The exact reason for this split has been a point of contention; usually the divergent ideas about the directions of the lines have been named as the primary reason: Mondrian never accepted diagonals, whereas Doesburg featured them in his art. After the split, Van Doesburg launched a new concept for his art, Elementarism, which was characterized by the diagonal lines and rivaled with Mondrian's Neo-Plasticism.

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Gracias por las visitas, amables comentarios e invitaciones

Thank you for the visits, kind comments and invitations

Oil on canvas; 72.875 × 78.875 in.

Manabu Mabe (マナブ間部?) (September 14, 1924 – September 22, 1997) was a Japanese-Brazilian painter. Mabe worked as a vendor of hand-painted ties in São Paulo before becoming a famous artist. In the late 1950s Mabe won the top award in São Paulo's Contemporary Art Salon, the top award as Brazil's best painter in the São Paulo Bienal, and the top honors for artists under 35 at Paris's first biennial.[1]

On 30 January 1979, after an exhibition in Tokyo, 153 of his paintings were on board of a Varig cargo Boeing 707-323C registration PP-VLU en route from Tokyo - Narita to Rio de Janeiro-Galeão via Los Angeles. The aircraft went missing over the Pacific Ocean some 30 minutes (200 km ENE) from Tokyo. Causes are unknown since the wreck was never found. The paintings were lost.

en.wikipedia.org/wiki/Manabu_Mabe

Untitled (Black and Gray) circa 1950

Gouache on paper

h: 8.8 x w: 14 in

Courtesy of Spanierman Modern, New York

www.spaniermanmodern.com/

artists.parrishart.org/artist/484/

Deconstruction: Zen and the Art of Photoshop

IPhoneography: various apps

Barnett Newman, Vir Heroicus Sublimis, 1950–51, oil on canvas, 242.2 x 541.7 cm (The Museum of Modern Art)

Oil on canvas; 195 x 130 cm.

As the third son of the Chu family, Teh-Chun was born on 24 October 1920 in Baitou Zhen, in the province of Jiangsu. This agricultural region of China made up of plains, watercourses and canals and which is also called the ‘water country’ will mark him deeply and give the artist Chu Teh-Chun a luminous palette. He comes from a prosperous family of medical doctors, who are collectors of traditional Chinese painting.

In 1935, he enters the National School of Fine Arts in Hangzhou where he meets his contemporary Zao Wou-Ki. At the time not just traditional painting was taught; painters who had lived in France had brought back art reviews and reproductions of Renoir, Matisse, Picasso and Cézanne which fascinate Chu Teh-Chun. With impressionism, he discovers another technique and another vision of art.

The declaration of the Sino-Japanese war on 7 July 1937 leads to a relocation of the school inside the country. During this exodus which lasts two years, Chu Teh-Chun discovers the depth of the Chinese countryside and remembers extraordinary landscapes.

At the end of his studies in 1941, he is immediately appointed as an assistant professor. He teaches in the architecture department of the central University of Nankin from 1944 to 1949. He then becomes a professor in Taipei and then in Taiwan, while continuing his exhibitions.

His status ensures he has a comfortable existence, but he nonetheless dreams of leaving to divest himself of academic conventions. So he therefore leaves China in 1955, at the age of 35 with his wife Ching-Chao. During the long journey which brings him to Europe, he makes a stopover in Cairo where he discovers Pharaonic art, which is his first real contact with western art. He arrives in France, a mythical country discovered during his studies through its painters and he sets up home in Paris.

Modern art then enters Chu Teh-Chun’s life. He leaves a frozen world for a world in movement. 1955 is the year of Nicolas de Staël’s death, Mark Tobey proposes his exhibition ‘the Movement’ at Jeanne Bucher’s premises, the Denise-René gallery presents the kinetic art of Agam, Pol Bury, Calder, Duchamp and Vasarely. Chu Teh-Chun discovers that the painters’ media and materials are different from those which he knows. One year after his death, the City of Paris National Museum of Modern Art holds a Nicolas de Staël retrospective. This event has a lasting impact on Chu Teh-Chun who is moved by the embedded, architectural shapes in ranges of restrained colours. He draws inspiration from them in his own paintings and replaces the traditional urban views which he painted at his arrival in Paris by a free proliferation of lively colours with material effects. Nature, its landscapes and its climatic phenomena are always his main sources of inspiration. Chu Teh-Chun’s painting ‘is a place of colours and shapes, born

He begins to exhibit his work in galleries from the years 1958-60. Thus he holds his first exhibition in the Legendre gallery and is noticed by critics. Maurice Panier, the artistic director of the Legendre gallery, offers him an exclusive contract for six years, which enables Chu Teh-Chun to invest in a workshop. He meets other artists from the gallery, some of whom such as Kijno or the sculptor Féraud will become his friends. And he becomes part of Parisian artistic life.

Abstraction then becomes a necessity for the Chinese artist. For him, it is a language which becomes incessantly renewed and which allows him to communicate more easily, with greater spontaneity and freedom of movement. His paintings are rich and it is difficult to retrace the path of the artist’s hand, to find a start and an end to it.

In 1983, he is invited by the department of Fine Arts of the University of Hong Kong to be on the final year examining board. The Chinese Union of Artists offers him an opportunity to rediscover his own country which he had not visited for 28 years. He then happily re-explores the China of his childhood. Invited for a second time in 1986, he shows a retrospective of his work at the Taipei national History Museum in 1987. He has been out of his country for thirty-two years and this is the first time that he is showing all of his work.

During the 1990s, he sets up home in Vitry-sur-Seine in Val de Marne and has a vast well lighted workshop. He now favours large formats, diptychs and triptychs, which he exhibits throughout Europe, the United States and the Far East. Major monographs are published and he is awarded several public commissions.

The years after 2000 are the symbol of recognition of Chu Teh-Chun’s work. In 2001, he becomes a Chevalier of the Order of Academic Palms and is then appointed as a Chevalier of the Legion of Honour by the President of the French Republic. He accompanies Jacques Chirac to Beijing in the context of the year of France in China. The latter describes him, like Zao Wou-Ki, as ‘symbols (…) of the meeting between cultured Chinese tradition and contemporary French painting’ and awards him the title of Officer of the National Order of Merit in 2006. In the same year, Chu Teh-Chun receives the European Gold Medal of Merit in Luxembourg.

The final proof of the establishment of his work is his first personal exhibition at the Marlborough Gallery in New York in May-June 2006.

2008

The National Museum Of History, Taipei (China), Exhibition 88 Retrospective (19/09 - 23/11)

2009

Malborough Fine Art Gallery, London, from March, 4th to 28th

Musée Guimet, Paris, De neige, d’or et d’azur (Of snow, gold and azure), 56 ceramics vases, from June, 10th to September, 7th.

www.jbastien-art.be/UK/artists_detail.awp?P1=Chu_Teh-Chun

Oil on canvas; 251.4 x 196.8 cm.

Franz Jozef Kline (May 23, 1910 – May 13, 1962) was an American painter mainly associated with the abstract expressionist movement centered on New York in the 1940s and 1950s. He was born in Wilkes-Barre, Pennsylvania, and attended Girard College, an academy in Philadelphia for fatherless boys. He attended Boston University, and later taught at a number of institutions including Black Mountain College in North Carolina and the Pratt Institute in Brooklyn.[1] He spent summers from 1956 to 1962 painting in Provincetown, Massachusetts, and died in New York City of a rheumatic heart disease.

As with Jackson Pollock and other Abstract Expressionists, Kline was labeled an "action painter" because of his seemingly spontaneous and intense style, focusing less, or not at all, on figures or imagery, but on the actual brush strokes and use of canvas. Throughout the 1930s Kline created pieces with slightly abstracted forms which used quick, rudimentary strokes to depict movement. From this point onward, he developed a more abstract, non-representative style for which he is known today. Although most of Kline's [mature and representative] work may seem impulsive and unplanned, as the phrase goes, "spontaneity is practiced". He would prepare many draft sketches—notably, commonly on refuse telephone book pages—before going to make his "spontaneous" work.[2]

In the late 1930s and early 1940s Kline worked figuratively, painting landscapes and cityscapes in addition to commissioned portraits and murals. Kline's best known abstract expressionist paintings, however, are in black and white.

Kline re-introduced color into his paintings around 1955, though he used color more consistently after 1959. Kline's paintings are deceptively subtle. While generally his paintings have a dynamic, spontaneous, and dramatic impact, Kline often closely referred to his compositional drawings. Kline carefully rendered many of his most complex pictures from studies. There seem to be references to Japanese calligraphy in Kline's black and white paintings, although he always denied that connection.[3] Bridges, tunnels, buildings, engines, railroads, and other architectural and industrial icons are often suggested as imagery informing Kline's work.

Kline's most recognizable method/style derives from a suggestion made to him by his friend Willem de Kooning. In 1948, de Kooning suggested to an artistically frustrated Kline to bring in a sketch and project it with a Bell Opticon opaque projector he had at his studio. Kline described the projection as such:

"A four by five inch black drawing of a rocking chair...loomed in gigantic black strokes which eradicated any image, the strokes expanding as entities in themselves, unrelated to any entity but that of their own existence."

Drawing was an essential element in Kline's process, and he would return over and again to forms first sketched on the pages of telephone books, structures that provided the basis of his essays in black and white.[4] He created paintings in the style of what he saw that day throughout his life. In 1950 he exhibited many works in this style at the Charles Egan Gallery. In the later 1950s such paintings as Requiem (1958) added a third type of work to his repertory, by allowing the previously clearcut monochrome divisions to merge into a more complex chiaroscuro. From 1958 he introduced strong colors into some of his works;[5] from 1959 to 1961, Kline executed a sequence of exceptionally large works, known as the "wall paintings".[6]

en.wikipedia.org/wiki/Franz_Kline

Untitled (50-45), (ca. mid 1950s)

Gouache on paper

22-1/2 x 28-1/2 inches

Courtesy of Spanierman Modern, New York

www.spaniermanmodern.com

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ACRYLIC ON PAPER

125 X 100 CM