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Franz Kline
Chatham Square

1948

Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request

About the Item

Signed (at lower left): FRANZ KLINE RECORDED: Elizabeth Johnson, “Franz Kline’s Roots in Coal and Steel—at Allentown Art Museum,” Artblog (December 21. 2012), illus. in color // Tim Keane, “Painting at the Speed of Sight: Franz Kline’s Rapid Transit,” Hyperallergic (March 2013) // Emily Genauer, “New Gallery; ‘Laundry-Ticket’ Art,” The New York Herald Tribune (October 1962), illus. EXHIBITED: Washington Gallery of Modern Art, Washington, D.C., October 30–December 27, 1962; Rose Art Museum, Brandeis University, Waltham, Massachusetts, January 21–March 10, 1963; The Baltimore Museum of Art, Baltimore, April 14–May 20, 1963, Franz Kline Memorial Exhibition, pp. 21 fig. 33, 51 no. 33 // Baltimore Museum of Art, Baltimore, October 22–December 8, 1968, From El Greco to Pollock: Early and Late Works by European and American Artists // Cincinnati Art Museum, Cincinnati, November 27, 1985–March 2, 1986; San Francisco Museum of Modern Art, San Francisco, April 17–June 9, 1986; Pennsylvania Academy of the Fine Arts, Philadelphia, June 26–September 28, 1986, The Vital Gesture: Franz Kline in Retrospect, p. 51 fig. 49 illus. in color // Allentown Art Museum of the Lehigh Valley, Allentown, Pennsylvania, October 7, 2012–January 13, 2013; Mishkin Gallery, Baruch College, New York, February 8–March 5, 2013; Franz Kline: Coal and Steel, pp. 55 fig. 44 illus. in color, 111 EX COLL.: the artist; to I. David Orr (1904–1997), Long Island, New York; to his estate, 1997 until the present Originally trained as a figurative painter, Kline was an exceptional draftsman. Unlike other post-war Abstract Expressionists who sought out European precedents, Kline embraced the urban landscape of New York City and rural industrial scenes around his childhood home of Wilkes-Barre, Pennsylvania. Marked by a distinctly realist approach, the street scenes, interiors, and portraits from this period show Kline grappling with what he wanted to paint and who he wanted to be as an artist. Although figurative in appearance, the paintings reveal the flattened space, reduction of form, bold outlines, and daring composition that would define Kline’s mature work.
  • Creator:
    Franz Kline (1910 - 1962, American)
  • Creation Year:
    1948
  • Dimensions:
    Height: 41 in (104.14 cm)Width: 30 in (76.2 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    New York, NY
  • Reference Number:
    Seller: M 10468D.0281stDibs: LU2316115722

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Charles Houghton Howard was born in Montclair, New Jersey, the third of five children in a cultured and educated family with roots going back to the Massachusetts Bay colony. His father, John Galen Howard, was an architect who had trained at M.I.T. and the École des Beaux-Arts in Paris and apprenticed in Boston with Henry Hobson Richardson. In New York, the elder Howard worked for McKim, Mead and White before establishing a successful private practice. Mary Robertson Bradbury Howard, Charles’s mother, had studied art before her marriage. John Galen Howard moved his household to California in 1902 to assume the position of supervising architect of the new University of California campus at Berkeley and to serve as Professor of Architecture and the first Dean of the School of Architecture (established in 1903). The four Howard boys grew up to be artists and all married artists, leaving a combined family legacy of art making in the San Francisco Bay area that endures to this day, most notably in design, murals, and reliefs at the Coit Tower and in buildings on the Berkeley campus. Charles Howard graduated from the University of California at Berkeley in 1921 as a journalism major and pursued graduate studies in English at Harvard and Columbia Universities before embarking on a two-year trip to Europe. Howard went to Europe as a would-be writer. But a near-religious experience, seeing a picture by Giorgione in a remote town outside of Venice, proved a life-altering epiphany. In his own words, “I cut the tour at once and hurried immediately back to Paris, to begin painting. I have been painting whenever I could ever since” (Charles Howard, “What Concerns Me,” Magazine of Art 39 [February 1946], p. 63). Giorgione’s achievement, in utilizing a structured and rational visual language of art to convey high emotion on canvas, instantly convinced Howard that painting, and not literature, offered the best vehicle to express what he wanted to say. Howard returned to the United States in 1925, confirmed in his intent to become an artist. Howard settled in New York and supported himself as a painter in the decorating workshop of Louis Bouché and Rudolph Guertler, where he specialized in mural painting. Devoting spare time to his own work, he lived in Greenwich Village and immersed himself in the downtown avant-garde cultural milieu. The late 1920s and early 1930s were the years of Howard’s art apprenticeship. He never pursued formal art instruction, but his keen eye, depth of feeling, and intense commitment to the process of art making, allowed him to assimilate elements of painting intuitively from the wide variety of art that interested him. He found inspiration in the modernist movements of the day, both for their adherence to abstract formal qualities and for the cosmopolitan, international nature of the movements themselves. Influenced deeply by Surrealism, Howard was part of a group of American and European Surrealists clustered around Julien Levy. Levy opened his eponymously-named gallery in 1931, and rose to fame in January 1932, when he organized and hosted Surrealisme, the first ever exhibition of Surrealism in America, which included one work by Howard. Levy remained the preeminent force in advocating for Surrealism in America until he closed his gallery in 1949. Howard’s association with Levy in the early 1930s confirms the artist’s place among the avant-garde community in New York at that time. In 1933, Howard left New York for London. It is likely that among the factors that led to the move were Howard’s desire to be a part of an international art community, as well as his marriage to English artist, Madge Knight...
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