Franz Kline Poster

On 1stDibs, you can find the most appropriate franz kline poster for your needs in our varied inventory. Find abstract versions now, or shop for abstract creations for a more modern example of these cherished works. You’re likely to find the perfect franz kline poster among the distinctive items we have available, which includes versions made as long ago as the 20th Century as well as those made as recently as the 21st Century. When looking for the right franz kline poster for your space, you can search on 1stDibs by color — popular works were created in bold and neutral palettes with elements of black. Finding an appealing franz kline poster — no matter the origin — is easy, but Ed Ruscha, Annie Leibovitz, Jim Dine, Fred McDarrah and Willem de Kooning each produced popular versions that are worth a look. These artworks were handmade with extraordinary care, with artists most often working in offset print, lithograph and ink. If space is limited, you can find a small franz kline poster measuring 8 high and 9 wide, while our inventory also includes works up to 37.5 across to better suit those in the market for a large franz kline poster.

The price for an artwork of this kind can differ depending upon size, time period and other attributes — a franz kline poster in our inventory may begin at $250 and can go as high as $10,000, while the average can fetch as much as $2,800.

Franz Kline (1910 – 1962) was an American painter. He is associated with the Abstract Expressionist movement of the 1940s and 1950s. Kline, along with other action painters like Jackson Pollock, Willem de Kooning, Robert Motherwell and Lee Krasner, as well as local poets, dancers, and musicians came to be known as the informal group, the New York School. Although he explored the same innovations to painting as the other artists in this group, Kline's work is distinct in itself and has been revered since the 1950s. Kline was born in Wilkes-Barre, a small coal-mining community in Eastern Pennsylvania. He studied art at Boston University from 1931 to 1935, then spent a year at the Heatherley School of Fine Art in London where he met his future wife, Elizabeth V. Parsons, a British ballet dancer. She returned to the United States with Kline in 1938, and Kline worked as a designer for a department store in New York state. He moved to New York City in 1939 and worked for a scenic designer. It was during this time in New York that he developed his artistic techniques and gained recognition as a significant artist. He later taught at a number of institutions including Black Mountain College in North Carolina and the Pratt Institute in Brooklyn. He spent summers from 1956 to 1962 painting in Provincetown, Massachusetts. Kline's artistic training focused on traditional illustrating and drafting. During the late 1930s and early 1940s he worked figuratively, painting landscapes and cityscapes in addition to commissioned portraits and murals. His individual style can be first seen in the mural series Hot Jazz, which he painted for a New York bar in 1940. The series revealed his interest in breaking down representative forms into quick, rudimentary brushstrokes. The personal style he developed during this time, using simplified forms, became increasingly more abstract. Many of the figures he depicted are based on the locomotives, stark landscapes, and large mechanical shapes of his native, coal-mining community in Pennsylvania. This is sometimes only apparent to viewers because the pieces are named after those places and objects, not because they actually look like the subject. With the influence of the contemporary New York art scene, Kline worked further into abstraction and eventually abandoned representationalism. From the late 1940s onward, Kline began generalizing his figurative subjects into lines and planes which fit together much like the works of Cubism of the time.

Decorating with fine art prints — whether they’re figurative prints, abstract prints or another variety — has always been a practical way of bringing a space to life as well as bringing works by an artist you love into your home.

Pursued in the 1960s and ’70s, largely by Pop artists drawn to its associations with mass production, advertising, packaging and seriality, as well as those challenging the primacy of the Abstract Expressionist brushstroke, printmaking was embraced in the 1980s by painters and conceptual artists ranging from David Salle and Elizabeth Murray to Adrian Piper and Sherrie Levine.

Printmaking is the transfer of an image from one surface to another. An artist takes a material like stone, metal, wood or wax, carves, incises, draws or otherwise marks it with an image, inks or paints it and then transfers the image to a piece of paper or other material.

Fine art prints are frequently confused with their more commercial counterparts. After all, our closest connection to the printed image is through mass-produced newspapers, magazines and books, and many people don’t realize that even though prints are editions, they start with an original image created by an artist with the intent of reproducing it in a small batch. Fine art prints are created in strictly limited editions — 20 or 30 or maybe 50 — and are always based on an image created specifically to be made into an edition.

Many people think of revered Dutch artist Rembrandt as a painter but may not know that he was a printmaker as well. His prints have been preserved in time along with the work of other celebrated printmakers such as Pablo Picasso, Salvador Dalí and Andy Warhol. These fine art prints are still highly sought after by collectors.

“It’s another tool in the artist’s toolbox, just like painting or sculpture or anything else that an artist uses in the service of mark making or expressing him- or herself,” says International Fine Print Dealers Association (IFPDA) vice president Betsy Senior, of New York’s Betsy Senior Fine Art, Inc.

Because artist’s editions tend to be more affordable and available than his or her unique works, they’re more accessible and can be a great opportunity to bring a variety of colors, textures and shapes into a space.

For tight corners, select small fine art prints as opposed to the oversized bold piece you’ll hang as a focal point in the dining area. But be careful not to choose something that is too big for your space. And feel free to lean into it if need be — not every work needs picture-hanging hooks. Leaning a larger fine art print against the wall behind a bookcase can add a stylish installation-type dynamic to your living room. (Read more about how to arrange wall art here.)

Find fine art prints for sale on 1stDibs today.