Important Art by Franz Kline
Unlike his friends Pollock and de Kooning, Kline never experimented with figurative elements in his mature work. Painting No.7 is a fine example of his black and white pictures. The rigid geometry of broad black lines defines the composition, perhaps manifesting his reconsideration of the iconic paintings of squares by Kazimir Malevich.
Critics' comments on the pictures included in Kline's breakthrough show of 1950 set the pattern for later reviews with their variety of analogies. Chief was the name of a locomotive Kline remembered from his childhood, and it's possible to read the image as a sensory reminiscence of its power, sound and steaming engine. Some also believed that the artist's obsession with black was connected to his childhood spent in a coal-mining community dominated by heavy industry. Many have since noted, however, that the forms in these early abstractions seem to have evolved from Kline's drawings of his wife Elizabeth. He made numerous sketches of her sitting in a rocking chair in the years when she began to succumb to mental illness; the circular forms in Chief bear comparison with the blank circles representing her face in the drawings.
Four Square is another example of Kline's experimentation with angular compositions. Although apparently structured in its compositional rigidness, Four Square is a fine example of his gestural approach to painting. The viewer is led to ponder the canvas, seeing as either a close-up of a linguistic symbol or, perhaps, a set of open windows. In this work Kline is also attempting to construct a three-dimensional abstract composition, whereas most of the Abstract Expressionists preferred the two- dimensional treatment of the pictorial surface. Kline achieves the visual effect of depth through energetic juxtapositions of vertical and horizontal lines and their diagonal overlapping.