弗朗兹·克莱恩《黑色反射》（Black Reflections，纽约大都会艺术博物馆藏）

阴山工作室 2018-06-11

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弗朗兹·克莱恩黑色反射 Black Reflections 纽约大都会艺术博物馆藏

作品介绍

Kline arrived at Abstract Ex-pressionism later than others, having continued working in a figural style redolent of American Scene painters into the late 1940s. By that time, he was ready to concentrate on formal concerns, and his friendship with Willem de Kooning helped pave the way. As a means to break free of figurative representation, Kline experimented with a Bell-Opticon enlarger (in de Kooning's studio) to project some of his small drawings in large scale, and he made a leap toward abstraction. By late 1950, he was exhibiting abstract work that immediately brought him success. Large-scale black and white compositions of energetic, dramatic gestures in which wide swaths of paint thrust across the canvas. For many, even these works of complete abstraction still evoke figural references (to various landscapes or urban scenes of industry, or to trees or other referents). Kline acknowledged this residue of imagery: "There are forms that are figurative to me, and if they develop into a figurative image … it's all right if they do. I don't have the feeling that something has to be completely non-associative as far as figure form is concerned."

In 1956, Kline reintroduced color. Black Reflections, an intensely colored small work on paper, may in fact relate to an earlier black and white piece. Kline's work, so apparently spontaneous or impulsive in its emphasis on highly dramatic gestural brushstrokes, is, in fact, carefully considered. The sweeps and rapid brushings of both thick and diluted paint are the product of much meditation. He often drew inspiration for large compositions from small studies, and he also continued explorations of key elements in works even years after their creation. In this case, the central black shape is a mirror image of the shape in a black and white untitled painting of 1954.

弗朗兹·克莱恩黑色反射 Black Reflections 局部

参考译文

克莱恩到抽象表现主义的时间比其他人晚，他一直以一种具象风格的风格继续工作，直到20世纪40年代后期才开始感受到美国风景画画家的气息。到那时，他已经准备好集中精力处理正式问题，他与威廉·德科宁的友谊也为他铺平了道路。作为摆脱具象表象的一种手段，克莱恩尝试了贝尔-光学放大机(在德库宁的工作室)，将他的一些小画大规模地投射出来，他向抽象迈出了一大步。到1950年末，他展示了抽象的作品，这些作品立刻给他带来了成功。大型黑白组合，充满活力，戏剧性的手势，其中广泛的油漆在帆布上插入。对许多人来说，即使是这些完全抽象的作品，也仍然会引起人们对具象的引用(对各种景观或工业的城市场景，或对树木或其他参考)。克莱恩承认了这些意象的残余物：“有些形式对我来说是比喻的，如果它们发展成一个形象的话，…。如果他们这么做的话也没关系。我不觉得某些东西在图形形式上是完全不相关的。”

1956年，克莱恩重新引入了色彩。《黑色反射》，一幅色彩强烈的小作品，实际上可能与早期的黑白作品有关。克莱恩的作品，在强调高度戏剧性的手势笔触时，显然是自发的或冲动的，实际上，是经过仔细考虑的。洗刷和快速刷的厚和稀释的油漆都是许多冥想的产物。他经常从小的研究中获得对大型作品的启发，甚至在创作多年之后，他还继续探索作品中的关键元素。在这种情况下，中央的黑色形状是一个镜像的形状，是一幅1954年黑白未命名的绘画。

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