弗朗兹·克林 抽象色彩 Color Abstraction 纽约佳士得2013.11成交价48.5万美元
作品介绍
With the bold strokes of a master colorist, Franz Klinepresents a dynamic structure of diagonal brushwork explodingbetween two registers of contesting coloration. Contrasts betweenlight and dark - blue black and orange-yellow - dominate the upperand lower halves of Color Abstraction, 1957, a brilliant andcomplex fusion of strokes and pigments. Crowned by the incursion ofa bright red band that doubles a diagonal blackened-red band below,this irruption is framed by triangular light yellow planks, whichcreate an intersection of forces that define this masterwork.Diffusions of pigment in multidirectional splatters, scrapes, andsurface granules attest to the speed with which the artist wieldedhis brushes. A passionate transcription of oppositions - betweenvalues, textures (liquescence and the marked dryness of brushwork),directional thrusts, and rhythmic oscillations caused by thevelocity with which the artist moves over the canvas - ColorAbstraction is a triumph of inspiration, an action painting whosemonumentality seems to break out from its contained field. Warm andcold hues are framed and cropped, pressing multiple pictorialincidents into a vortex of animation and visual intensity.
Color Abstraction works against received opinion that whiteand black dominated the artist's interests: just as color wasalways on his palette, color paintings filled his closets and linedthe walls of Kline's studio (T. Hess, Conversation with Harry F.Gaugh, New York, April 7, 1972, in H. Gaugh, "The Abstractions withColor," Franz Kline: The Color Abstractions, exh. cat., PhillipsCollection, Washington, DC, 1979, p. 11). From his figurative workin 1930s and 1940s through to his biomorphic paintings and into hisartistic maturity, Kline produced chromatic abstractions with theforce and engagement of a committed colorist. At Sydney Janis'behest, Kline turned from commercial enamel paint to artists' tubepaints (for which the gallery paid), intensifying Kline'sinvestigations of color. As Kline told Janis, "if I can't do morewith color than I can with black and white I won't use it" (F.Kline, quoted by Sidney Janis, 1978).
弗朗兹·克林 抽象色彩 ColorAbstraction 局部细节
Alongside other Abstract Ex-pressionists of his generation whoexperimented in ex-pressive coloration and the contention betweenthe extremes of chroma, Kline moved between black and whitestatements and essays marked out for their high-keyed chromaticpalette. In Color Abstraction muscular tautness is created both bysingularly intense color contrasts pitched against an array ofbrush techniques - from dashed wide orthoganals to fluidapplications, from thin linear crossing to drips. Such a rangeplaces Kline squarely in the center of first-generation AbstractEx-pressionists' broad statements of gesture and activerelationships to the canvas as well as to their compositionalparadigms of intentionality. Drawing from associated signaturesstyles of colleagues such as Willem de Kooning and Mark Rothko,Color Abstraction is a consummate statement of Kline's campaigns inexecuted in parallel with these artists.
Kline's abstractions in color from the 1950s mirror in theirtriple registration and horizontality Rothko's floating rectanglesfrom the same year, while Kline can be seen in reciprocal dialoguewith de Kooning's abstractions from the late 1950s on. Both artistsuse split registrations and value differentiation to define spatialtension between foreground and background. In both De Kooning'sSuburb in Havana, 1958, for example, and in Kline's ColorAbstraction, lightened values create activity on the surface whiledarker hues enhance depth recession. High-key colors in deKooning's full-bodied yellows serve, like Kline's orange-yellow inthe present work, to declare a middle space that allows contrastinglight to interpenetrate the foreground - the blues in de Kooningand the whites in Kline engendering exuberant textural play. Laterde Kooning may well have referred back to the work of a man heconsidered his "best friend" (H. Gaugh, Conversation with deKooning on Aug. 9, 1971, in ibid., p. 13), for the abstractlandscapes such as Door to River and A Tree in Naples, both from1960, amply demonstrate Kline's own vectors of linear tensions andchromatic ex-pressivity. These artists, in their horizontal anddiagonal striations and compositional structure created fromoverlapping planes, share and vigor and exhilaration, which isunderpinned by what Kline admits is can often surprise him. "Thefinal test of painting, theirs, mine, any other, is; does thepainter's emotion comes across? We don't begin with a definitesense of procedure. It's free association from the start to thefinished state and the surprise element which that entails. Buttheemotion must be there. If I feel a painting I'm work on doesn'thave imagery or emotion, I paint it out or work over it until itdoes. The old idea was to make use of your talent" (F. Kline,quoted by S. Rodman, Conversations with Artists, New York, 1961,pp. 108 -109).
弗朗兹·克林 抽象色彩 ColorAbstraction 局部细节
参考译文
作为大胆的用笔大师，弗兰兹克莱恩展示了一个动态结构的对角线笔画在两个区域之间剧烈膨胀的对立颜色。浅色和深蓝色、黑色和橙色-黄色的对比-支配了上半部和下半部。《抽象色彩》作于1957年，笔画和颜料完美而复杂地融合。由一个明亮的红色带的入覆盖在顶部，在下面的对角线黑色红带加倍，这个分裂是由三角形浅黄色板框架，创造了一个力量的交集，定义了这一杰作。颜料在多向喷溅、摩擦和表面颗粒中的扩散证明了艺术家挥动画笔的速度。一种充满激情的对立面转录-在价值、纹理(笔画的潮气和明显的干燥程度)、定向推力和艺术家在画布上移动的速度所引起的节奏振荡之间颜色提取是灵感的胜利，是一幅动作画，它的不朽性似乎是从它所包含的领域中爆发出来的。温暖和寒冷的色彩被框和裁剪，将多个图片事件压成动画和视觉强度的漩涡。
《抽象色彩》反对白人和黑人主导艺术家兴趣的作品：就像色彩总是出现在他的作品上一样，彩色绘画充斥着他的壁橱，排列着克莱恩工作室的墙壁(T·赫斯，1972年4月7日，纽约，哈里·F·高(HarryF.Gaugh)，在H·高(H.Gaugh)的“色彩的抽象画”中与哈利·F·高(HarryF弗兰兹·克莱恩：色彩抽象，“飞利浦收藏”，华盛顿特区，1979年，p.。11)从他在二十世纪三十年代和四十年代的具象作品，到他的生物形态绘画，到他的艺术成熟，克莱用一位忠实的着色师的力量和参与，创作了色彩抽象作品。在悉尼贾尼斯的命令下，克莱恩从商业搪瓷漆转向艺术家的管状涂料(画廊为此支付了费用)，加强了克莱恩对颜色的调查。正如克莱恩对贾尼斯所说的那样，“如果我不能用黑白色做更多的事情，我就不会使用它”(F.Kline，SidneyJanis引用，1978年)。
弗朗兹·克林 抽象色彩 ColorAbstraction 局部细节
克莱和他这一代的抽象表现主义者一样，试验着表现性色彩和色彩极端之间的争论，在黑白声明和为他们高调的调色板而被标记出来的文章之间移动。《抽象色彩》的紧绷节奏是由奇异强烈的颜色对比产生的，这种对比与一系列笔刷技术-从破折号的宽正交到流体应用，从细长的线性交叉到滴滴-形成了鲜明的对比。这样的范围将克莱恩置于第一代抽象表现主义者对画布的广泛姿态和积极关系的中心位置，以及他们的意向性构成范式。从威廉·德库宁和马克·罗斯科等同事的相关签名风格中提取，《抽象色彩》是克莱恩在与这些艺术家同时执行的战役的完美陈述。
克莱恩从上世纪50年代的镜子中抽象出三重配准和水平的罗斯科当年的浮动长方形，而克莱恩则与德库宁从上世纪50年代末开始的抽象作品进行了相互对话。两位艺术家都使用分割注册和价值差异来定义前景和背景之间的空间张力。在德库宁哈瓦那郊区，例如，1958年，在克莱恩的《抽象色彩》中，减轻的价值创造活动的表面，而更深的颜色增加深度衰退。在德库宁的丰满的黄色中，高调的颜色，就像克莱恩这件作品中的橙色黄色一样，可以宣布一个中间空间，让对比光线能够穿透前景-德库宁的蓝色和克莱语中的白色-丰富的纹理戏剧。后来，德科宁很可能还提到了一个他认为是他“最好的朋友”的人的工作(H.Gaugh，1971年8月9日与德库宁的对话，同上，p.)。13)，对于抽象的景观，如门到河和那不勒斯的一棵树，从1960年开始，充分展示了克莱自己的线性张力和色表现力向量。这些艺术家，在他们的横向和对角线条纹和组成结构创造的重叠平面，共享，活力和兴奋，这是以克莱恩所承认的往往可以令他惊讶。“绘画的最后考验，他们的，我的，任何其他的，都是，画家的情感是否会出现？”我们并不是从明确的程序观念开始的。它是从一开始到完成状态的自由结合，以及它所带来的惊喜元素。但情感一定在那里。如果我觉得我正在画的一幅画没有表象或情感，我就画出来或者画出来，直到画出来为止。旧的想法是利用你的才能“(F.克莱恩，S.罗德曼引用)，与艺术家交谈，纽约，1961年，第108-109页)。
作品细节
弗朗兹·克林 抽象色彩 ColorAbstraction 局部细节弗朗兹·克林 抽象色彩 ColorAbstraction 局部细节弗朗兹·克林 抽象色彩 ColorAbstraction 局部细节弗朗兹·克林 抽象色彩 ColorAbstraction 局部细节弗朗兹·克林 抽象色彩 ColorAbstraction 局部细节弗朗兹·克林 抽象色彩 ColorAbstraction 局部细节弗朗兹·克林 抽象色彩 ColorAbstraction 局部细节弗朗兹·克林 抽象色彩 ColorAbstraction 局部细节弗朗兹·克林 抽象色彩 ColorAbstraction 局部细节 弗朗兹·克林 抽象色彩 ColorAbstraction 局部细节
画家简介
作品资料
Color Abstraction
成交总额USD 485,000
估价USD 400,000 - USD 600,000
signed 'Kline' (lower left)
oil on paper
8¾ x 7 in. (22.2 x 17.7 cm.)
Painted in 1957.
拍卖 2791
战后及当代艺术 (晚间拍卖)
纽约|2013年11月12日
拍品 44
来源
Marlborough-Gerson Gallery, New York
Allan Stone Gallery, New York
Acquired from the above by the present owner
展览历史
The Phillips Collection, Washington, D.C.; Institute for theArts, Rice University, Houston; Los Angeles County Museum of Artand Seattle Art Museum, Franz Kline: The Color Abstractions,February-November 1979.
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弗朗兹·克林 抽象色彩 Color Abstraction 纽约佳士得2013.11成交价48.5万美元
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