 弗朗兹·克莱恩 奥利佛国王 King Oliver 纽约苏富比2014.11 成交价2648.5万美元 作品介绍 Teeming with the frenetic energy of the buzzing metropolis, Franz Kline’s dynamic paintings emerge as the archetypes of Twentieth Century New York action painting. Evoking the fast cars, rising girders and rampant nightlife, Kline’s canvases are emblematic of the vibrant cultural downtown scene of the 1950s. Channeling various modern elements into a new heroic form of painting, Kline and his contemporaries thrived on the vivacious jazz scene, and like their musical counterparts took an active stance in the improvisational creation of their art. A complete embodiment of the energy, drama and freedom of this seminal decade in the history of American Art, the surfaces of Kline’s paintings clearly demonstrate the importance of the moment, of the gesture and of the artist’s own vigorous movements, putting brush to canvas. A brilliant and complex fusion of strokes and pigments, Kline’s King Oliver emerges as a blaze of inspiration garnered from the free-improvisational and vivacious spirit of the 1950s New York urban jazz scene. A totemic and empowered action painting, the monumentality and energy of Kline’s signature black and white brushstrokes burst from the canvas as the rare addition of vibrant yellow, red, blue, green and purple pigments permeate the work with the distinguished mark of a master colorist. Singled out by historian Harry Gaugh in the first full-length study on the artist, Gaugh attests: “The massive King Oliver, a cacophony of slatted and buckling color, stands as a joyous monument to the great jazz musician, affirming at the same time the range of Kline’s figural implications. Important as one of his most accomplished color works, it is also his only mature color painting to declare openly a figural identity. Other canvases with significant color only allude to figures, and these are relatively few” (H. Gaugh, The Vital Gesture: Franz Kline, exh, cat., Cincinnati Art Museum, 1985).  弗朗兹·克莱恩 奥利佛国王 King Oliver 局部 Marking a pivotal moment in Kline’s career, the reintroduction of color—usually bright and unmodulated—undeniably works against the received opinion that white and black dominated the artist’s interests. While Kline reputedly had color on his palette when working on his stark black and white paintings, colored canvases too filled his closets and lined the walls of his studio. From his figurative work in 1930s and 1940s through to his biomorphic paintings and into his artistic maturity, Kline produced chromatic abstractions with the force and engagement of a committed colorist. While the contemporary critics often denounced this new appearance of color as a risky move, there is no doubt that Kline’s career was undoubtedly on the rise. By this time he was included both nationally and internationally in the Americans exhibitions curated by Dorothy C. Miller at the Museum of Modern Art, alongside both friends and fellow artists, Jackson Pollock, Willem de Kooning, Mark Rothko, Barnett Newman and Clyfford Still. However, more notably, he moved from Charles Egan Gallery and began showing his work with Sidney Janis in 1956. With this heightened visibility and greater acclaim, at the behest of Janis, Kline turned from commercial enamel to artists’ tube paints (for which the gallery paid), lending to Kline’s intensified investigations into color.  弗朗兹·克莱恩 奥利佛国王 King Oliver 局部 And while the artist cautioned his dealer stating, “If I can’t do more with color than I can with black and white I won’t use it” (F. Kline, quoted by Sidney Janis, 1978). The action painter took on the challenge of using color to attack his canvas with the same intensity as before subsequently producing an extraordinary combination of dynamism and gravitas, which previously only his black and white paintings were thought to possess. Adding visual complexity and structure to his composition, King Oliver consists of numerous vectors and strong diagonals that contribute to Kline’s distinct appearance of tautness and vitality. Working in concert with his signature black and white, the vibrant hues carve out a dynamic sense of space within the picture and highlight the strong gestural marks forcibly made by the artist. While the apparent brushwork of each mark appears spontaneously rendered, the complexity of the overall image unites the construction of the brushwork in true architectural fashion. Though Kline was commonly known to be ambivalent to a defined sense of “style,” his work decidedly possessed one, and his implementation of color was distinctly his own. “Kline’s color, in which purples and reds, yellows, oranges and greens clash for dominance, isn’t like anyone else’s,” Abstract ist critic and historian, April Kingsley described. “Kline loved Matisse, but his color does’t have the sparkling Mediterranean limpidity of the French master. Instead, some of New York City’s grime, the gritty matter with which its inhabitants are constantly showered and which seem to have solidified and in Kline’s blacks, clings to his color” (A. Kingsley, “The Turning Point,” C. Christov-Bakargiev (ed.), Franz Kline: 1910 - 1962, exh. cat., Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Turin, 2004, p. 390).  弗朗兹·克莱恩 奥利佛国王 King Oliver 局部 Entrenched with the grit of his city, his heroic brushwork and seemingly spontaneous gestures combined with his vivacious and fervent use of color, King Oliver is a supreme manifestation of the celebrated grandeur of the artist’s signature style. An artist who was as engrossed in the urban culture of New York—included among his friends and bar buddies, besides artists were jazz musicians, writers, collectors, neighborhood drunks, starstruck art students, and the beat (and not-so-beat) poets—as he was in his own art, Dore Ashton fondly remembered, “I have always thought he had style in the way the term was used by a jazz trumpeter I once heard who, after a long improvisational digression, waved his instrument and shouted exultingly, ‘Man, I got style I ain’t even used yet!’” (D. Ashton, “Kline as he was and as he is,” ibid., p. 28 - 30). Alluding to Kline’s reinvigorated style, Ashton’s assertion further recalls the zeitgeist of the 1940s and 1950s downtown culture. Indeed, King Oliver itself is an eponymous homage to the jazz musician himself. An American jazz cornet player and bandleader, Joe “King” Oliver became popular during the 1920s in Chicago and New Orleans. Taking great interest in the alteration of his horns sound, King Oliver pioneered the use of mutes, which he unceremoniously fashioned out of rubber plumber’s plunger, derby hats, bottles and cups in order to gain a wider range. A talented composer, he wrote many tunes that are still regularly played today including, “Sweet Like This,” “Canal Street Blues,” “Doctor Jazz” and “Dipper Mouth Blues,” which became an early nickname for his younger protégé, Louis Armstrong. Remembering Oliver as “Papa Joe,” Armstrong considered him his mentor, idol and inspiration, stating in his own autobiography, Satchmo: My Life in New Orleans, “It was my ambition to play as he did. I still think that if it had not been for Joe Oliver, Jazz would not be what it is today. He was a creator in his own right” (L. Armstrong, Satchmo: My Life in New Orleans, New York, 1986, p. 99).  弗朗兹·克莱恩 奥利佛国王 King Oliver 局部 Engaged in an art-making process that was both active and interactive, the Abstract Expressionists, namely Kline and Pollock, like their musical counterparts composed as they painted or played. Engrossing themselves in a “dance” around their respective canvases, they became staunchly devoted to the improvisational process. In describing her husband Jackson Pollock’s love of the music, the artist Lee Krasner has explained that Pollock “would get into grooves of listening to his jazz records—not just for days—day and night, day and night for three days running until you though you would climb the roof! … Jazz? He thought it was the only other really creative thing happening in this country” (L. Krasner, quoted in, M. Hadler, “Jazz and the New York School,” K. Gabbard (ed.), Representing Jazz, Chapel Hill, 1995, p. 248). Indeed, noting that Pollock was “in the same state I was in and doing what I was doing,” Ornette Coleman, and originator of free-form jazz, openly recognized the reciprocity between artist and musician (Ibid.). Keeping his radio tuned to WEVD, where he would pick up Symphony Sid after bar hours, Kline appreciated more traditional jazz and named four paintings—King Oliver, Lester, Bigard and Hampton—after the mainstream musicians, Joe “King” Oliver, Lester Young, Barney Bigard and Lionel Hampton respectively. Identifying with both their unorthodox working procedures and their out-side-of-the-establishment status, Kline approached his canvases like a soloist to their instrument, entering the composition, developing it and exiting without finishing off its possibilities. “Every nerve was enlisted while he was at work,” Dore Ashton remembers. “His emphasis on ‘feeling’ as the proper criterion for a painter was not casual. Those great diagonals he favored reflected his inner rhythms, his own way of vaulting into the grand spaces he envisioned. How endemic to his whole being those diagonal trajectories were can be gauged by the way he danced…He had an impulse to shoot out into space, to slam through a wilderness of black and white and reach a climax of total freedom…He dances as he paints, beating out an idiosyncratic rhythm over sustained periods, and then suddenly, and with élan, breaks the rhythm dramatically by shooting out one foot in a precipitous accent grave movement” (D. Ashton, op cit., p. 28).  弗朗兹·克莱恩 奥利佛国王 King Oliver 局部 Embracing a reductive approach into complete abstraction, Kline’s work stood apart from the creations of his Abstract Expressionist contemporaries as a purely gestural approach to painting. Unlike Rothko or Newman for example, there was nothing transcendental about Kline’s work. Nor was he, like Pollock or Rothko, invoking an inner state of being, psychology or state of mind. Rather, he was only attempting to transmit something hitherto unexpressed and unknown through the material properties of the painter’s art. “Instead of making a sign you can read,” he said, “you make a sign you can’t read” (Franz Kline, quoted in Franz Kline; Art and the Structure of Identity, exh. cat., Whitechapel Art Gallery, London, 1994, p. 57). In fact, of all the great Abstract Expressionist artists, Kline was the least influenced by Surrealism. Indeed, of all these artists, he was perhaps also the least modern. His work had little to do with any extension of Cubism or the invocation of archetypes from depth of man’s soul or psyche. The product of an extremely conventional training in figurative drawing and painting at the Heatherly School of Art in London, Kline cited his influences as being those of Tintoretto, Rembrandt, Velazquez and Goya, rather than the more usually referred to Cézanne, Picasso, Matisse or Mondrian. And yet, when discussing the addition of color to Kline’s painting in the 1950s, one must consider Kline’s close relationship with de Kooning, who considered Kline to be his “best friend.” Together they ruled the artistic intelligentsia on Tenth Street and captivated and influenced a younger generation of artists with their inimitable yet accessible styles. In 1955, de Kooning reverted to painting strictly abstract pictures after painting his iconic series of Women, but this time, he turned to bright, undiluted colors. His paintings like Police Gazette and Gotham News include energetic slashes of red and blue paints and built-up layers of yellow paint. While de Kooning may not have been a direct influence—and indeed, unlike de Kooning, Kline was not “slipping glimpses” of reality into his paintings—his new work was known to Kline. Further, in John Elderfield’s comprehensive catalogue that coincided with the Museum of Modern Art’s seminal retrospective on Willem de Kooning, Jennifer Field points out, “The calligraphic qualities of Ruth’s Zowie and de Kooning’s use of black in Bolton Landing connect these paintings to the works Franz Kline made through the 1950s. Around this time, Kline himself began incorporating color into his collages and paintings; like Bolton Landing, his monumental King Oliver features a palette of yellow, orange and blue intercepted by strong black verticals and horizontals” (J. Field, “Full Arm Sweep,” J. Elderfield, de Kooning: a Retrospective, exh. cat., Museum of Modern Art, New York, 2011, p. 320). For Kline, the nature of his painting did not change with the addition of color. He had once stated, “An area of strong blue or the interrelationship of two different colors is not the same thing as black and white. In using color, I never feel I want to add to or decorate a black and white painting. I simply want to feel free to work both ways.”  弗朗兹·克莱恩 奥利佛国王 King Oliver 局部 Achieving compositional balance by means of interlocking forces, which imposingly overlap one another, and are brought to life with ricocheting colors, King Oliver is rampant with dynamic tension. The sense of organized chaos comes from the pressure of white against black, of calligraphic line converging with color, and from energies in disarray, “ a certain sense of the awkwardness of ‘not-balance,’ the tentative reality of lack of balance in it” (F. Kline, in D. Sylvester, Interviews with American Artists, New Haven and London, 2001, p. 63). It is, in the end, the element of enigma and indefinability in these great works that bestows them with their enduring power, authority and ability to fascinate the viewer. A phenomenal example of the artist’s mature work, and the era in which he achieved it, Kline’s genius is never more present than here in King Oliver, where, as Motherwell states, the artist “share[s] this possible miraculous event with you” (R. Motherwell, ibid., p. 134). Creating an analogy to King Oliver’s own student, Louis Armstrong, Kline once famously replied to a spectator who asked him to explain the meaning of his work by stating: “I’ll answer you the same way Louis Armstrong does when they ask him what it means when he blows his trumpet. Louie says, ‘Brother, if you don’t get it, there is no way I can tell you’” (F. Kline, quoted in H.F. Gaugh, op. cit., p. 13).  弗朗兹·克莱恩 奥利佛国王 King Oliver 局部 参考译文 作为二十世纪纽约动作绘画的原型，弗兰兹·克莱恩充满了喧嚣都市的狂热能量，他的动态绘画成为20世纪纽约动作绘画的原型。克莱恩的画布唤起了快速的汽车、上升的横梁和猖獗的夜生活，是上世纪50年代充满活力的文化闹市区景象的象征。克莱和他的同龄人将各种现代元素引入到一种新的英雄绘画形式中，在活跃的爵士乐舞台上兴盛起来，并像他们的音乐同行一样，在即兴创作中采取了积极的立场。在美国艺术史上，克莱的绘画表面充分体现了这一开创性十年的活力、戏剧和自由，它清楚地展示了这一时刻、姿态和艺术家自己有力的动作的重要性，把画笔放在画布上。 笔画和颜料的巧妙而复杂的融合，克莱因的奥利弗国王从20世纪50年代纽约城市爵士乐的自由即兴和活泼精神中获得灵感的火焰出现。这是一幅图腾而有力的动作画，克莱恩标志性的黑白笔触的丰碑性和活力从画布上爆发出来，鲜活的黄色、红色、蓝色、绿色和紫色的色彩渗透到作品中，并带有杰出的色彩大师的印记。史学家哈利·高在第一篇关于艺术家的长篇研究中特别指出：“巨大的奥利弗国王，刺耳的板条和褶皱的颜色，作为伟大的爵士音乐家欢乐的纪念碑，同时肯定了克莱恩的形象含义的范围。作为他最有成就的色彩作品之一，它也是他唯一幅成熟的彩绘作品，它公开地宣告了一个人物形象的身份。其他颜色显着的画布只暗示人物，而且相对较少“(H.Gaugh，重要的手势：Franz Kline，“猫”，辛辛那提艺术博物馆，1985年)。 在克莱恩职业生涯中的一个关键时刻，颜色的重新引入-通常是明亮的和未经调制的-无可否认地违背了人们普遍认为白人和黑人主导艺术家利益的观点。据说克莱恩在画黑白画时，调色板上有颜色，而彩色画布却填满了他的衣橱，在他的工作室的墙壁上排列着。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。  弗朗兹·克莱恩 奥利佛国王 King Oliver 局部 虽然当代的评论家们经常谴责这种新的颜色的出现是一个冒险的举动，但毫无疑问，克莱恩的职业生涯无疑在上升。此时，他已经被纳入了多萝西·C·米勒(Dorothy C.Miller)在现代艺术博物馆(Museum of现代派)主办的美国展览中，并与杰克逊·波洛克(Jackson Pollock)、威廉·德·库宁(Willem De Koning)、马克·罗斯科(Mark Rothko)、巴内特·纽曼(Barnett Newman)和克莱福德(Clyfford)一起参加了美国的展览。然而，更值得注意的是，他从查尔斯·伊根画廊搬来，并于1956年开始与西德尼·贾尼斯一起展出他的作品。随着这种更高的知名度和更大的赞誉，在贾尼斯的命令下，克莱因从商业搪瓷转向艺术家的管状涂料(画廊为此支付了费用)，这有助于克莱恩加强对颜色的调查。 虽然艺术家警告他的经销商说，“如果我不能做更多的颜色比我能用黑白，我将不会使用它”(F.Kline，引用西德尼贾尼斯，1978年)。这位动作画家接受了一项挑战，用颜色来攻击他的画布，其强度和以前一样，后来产生了一种非凡的活力和庄重的结合，以前只有他的黑白绘画才被认为具有这种力量和庄重。在他的作品中增加视觉的复杂性和结构，奥利弗国王由众多向量和强大的对角线组成，这有助于克莱鲜明地表现出紧绷和活力。与他的签名黑白协同工作，充满活力的色彩在图片中开辟了一种动态的空间感，突出强烈的手势标记由艺术家强行作出。虽然每一个标志的表面绘画都是自发地呈现出来的，但整体形象的复杂性却以真正的建筑方式将笔画的构造统一起来。  弗朗兹·克莱恩 奥利佛国王 King Oliver 局部 虽然克莱因对“风格”的定义很矛盾，但他的作品无疑拥有一种风格，他对色彩的实现显然是他自己的作品。“克莱恩的颜色，其中紫色和红色，黄色，橘子和绿色冲突为主导地位，不像其他人，”抽象表现主义批评家和历史学家，阿普丽尔金斯利说。“克莱恩喜欢马蒂斯，但他的颜色没有法国大师那般闪亮的地中海般清澈。”相反，纽约市的一些污垢-它的居民经常洗澡、似乎已经凝固的硬质物质-在克莱恩的黑人身上，依附着他的颜色“(A.金斯利，”转折点“，C.赫里斯托夫-巴卡季耶夫(编辑)。)Franz Kline：1910-1962，“猫”，Castello di Rivoli Museo d‘Arte Contimeanea，Rivoli-Turin，2004年，p。390)。 奥立佛国王以其城市的坚韧，他的英雄笔触和看似自发的姿态，加上他活泼而热情的色彩，是这位艺术家标志性风格的卓越体现。一位全神贯注于纽约都市文化的艺术家-包括他的朋友和酒吧伙伴，此外还有爵士音乐家、作家、收藏家、街坊酒鬼、明星艺术系的学生，以及节奏(而不是那么拍子)的诗人-就像他自己的艺术一样，多尔·阿什顿亲切地回忆道：“我一直认为他的风格是爵士吹喇叭手用的方式。有一次，我听说，在经过长时间的即兴练习之后，他挥动着乐器，兴高采烈地喊道：“伙计，我还没有用过的式样呢！”(D.Ashton，“Kline虽然过去，现在也一样”，同上，p.。(第28至30条)。提到克莱恩的复兴风格，阿什顿的断言进一步唤起了20世纪40年代和50年代市中心文化的时代精神。事实上，奥利弗国王本身就是对爵士音乐家本人的同义词。 乔·“国王”·奥利弗是一名美国爵士乐手和乐队领队，在20世纪20年代芝加哥和新奥尔良很受欢迎。奥利弗国王对喇叭声的变化非常感兴趣，他率先使用了哑巴，他用橡胶管道工的柱塞、德比帽、瓶子和杯子随意地制作了静音，以获得更广泛的音域。作为一名才华横溢的作曲家，他写了许多至今仍在播放的曲调，其中包括“像这样甜”、“运河街蓝调”、“爵士博士”和“迪珀嘴蓝调”，这首曲子很早就成为他年轻的儿子路易斯·阿姆斯特朗的昵称。记得奥利弗是“乔爸爸”，阿姆斯特朗认为他是他的导师、偶像和灵感，他在自己的自传“萨奇摩：我在新奥尔良的生活”中说：“我的抱负是像他那样打球。我仍然认为如果没有乔·奥利弗，爵士就不会是今天的样子了。他自己就是一个创造者“(L.阿姆斯特朗，我在新奥尔良的生活，纽约，1986年，p.99)。 抽象表现主义者，即克莱和波洛克，从事着既活跃又互动的艺术创作过程，就像他们在作画或演奏时创作的音乐作品一样。他们全神贯注于各自画布周围的“舞蹈”，坚定地致力于即兴创作过程。在描述她的丈夫杰克逊·波洛克对音乐的热爱时，艺术家李·克拉斯纳解释说，波洛克“不只是日以继夜地听他的爵士唱片，日日夜夜地跑三天，直到你想爬上屋顶！”…爵士乐？他认为这是唯一发生在这个国家的真正有创意的事情“(L.Krasner，引用M.Hadler的话，”Jazz and the New York School“，K.Gabbard(编辑)。代表爵士，Chapel Hill，1995年，p.248)。事实上，注意到波洛克“处于我所处的状态并在做我正在做的事情”，自由形式爵士乐的创始人奥内特·科尔曼(Ornette Coleman)公开承认艺术家和音乐家之间的相互关系(同上)。克莱恩把收音机调到WEVD，他会在酒吧下班后拿起西德交响曲。克莱恩欣赏了更传统的爵士乐，并以主流音乐家乔·“金”·奥利弗、莱斯特·杨、巴尼·比加德和莱昂内尔·汉普顿的名字命名了四幅画-国王奥利弗、莱斯特·比加德和汉普顿。克莱既认同他们的非正统工作程序，又认同他们的外部体制地位，他像独奏者一样对待自己的画布，进入作品，发展作品，在没有完成作品的可能性的情况下离开画布。“每一个神经都是在他工作的时候被招募的，”多尔·阿什顿回忆道。“他强调‘感觉’是画家的适当标准，这不是随随便便的。他喜欢的那些大对角线反映了他内心的节奏，他自己跳进他想象中的宏伟空间的方式。从他跳舞…的方式可以看出，他的整个对角线轨迹是多么的地方化。他有一种冲向太空的冲动，想要穿越一片黑白相间的荒野，到达一个完全自由的…的高潮。他一边画画一边跳舞，在持续的时间里击打出一种特殊的节奏，然后突然和埃兰一起戏剧性地打破了节奏，在一种陡峭的口音坟墓运动中射出一只脚“(D.Ashton，opit.，p.)。28)。  弗朗兹·克莱恩 奥利佛国王 King Oliver 局部 克莱把一种简化的方法纳入到完全抽象中，他的作品与他的抽象表现主义同时代艺术家的创作不同，这是一种纯粹的形象化的绘画方法。例如，与罗斯科或纽曼不同的是，克莱恩的作品并没有什么超越性。他也没有像波洛克或罗斯科那样，唤起一种内在的存在状态、心理状态或心理状态。相反，他只是试图通过画家的艺术的物质属性来传达一些迄今尚未表达和未知的东西。他说：“你没有做一个你能读懂的标志，你做了一个你看不懂的标志”(弗兰兹·克莱恩，引用于艺术与身份结构，“猫”，白教堂美术馆，伦敦，1994年，p。57)。事实上，在所有伟大的抽象表现主义艺术家中，克莱因受超现实主义的影响最小。事实上，在所有这些艺术家中，他也许也是最不现代的。他的作品与立体主义的任何延伸或从人的灵魂或心灵深处援引原型都没有什么关系。克莱因是伦敦Heatherly艺术学院(Heatherly School Of Art)在具象绘画和绘画方面进行极其传统培训的产物，他把自己的影响称为廷托雷托(Tintoretto)、伦勃朗(RembRandt)、韦拉斯克斯(Velazquez)和戈亚(Goya)的影响，而不是更多地提到塞尚、毕加索(Picasso)、马蒂斯 然而，在20世纪50年代讨论克莱恩的绘画增添色彩时，人们必须考虑克莱恩与德库宁的密切关系，德库宁认为克莱恩是他的“最好的朋友”。他们一起统治着第十街的艺术知识分子，以他们独特而又随和的风格吸引并影响了年轻一代的艺术家。1955年，德库宁在画了他标志性的“女人”系列之后，又回到了严格抽象的绘画中，但这一次，他转向了明亮、未稀释的色彩。他的画，如“警察公报”和“哥谭新闻”，包括充满活力的红色和蓝色颜料的斜线，以及堆砌的黄色油漆层。虽然德库宁可能不是一个直接的影响-实际上，不像德科宁，克莱恩并没有在他的绘画中“隐约瞥见”现实-他的新作品是克莱恩所熟知的。此外，在约翰·埃尔德菲尔德的综合目录中，与现代艺术博物馆对威廉·德库宁的开创性回顾相吻合，詹妮弗·菲尔德指出：露丝·佐伊德库宁用黑色博尔顿登陆把这些画和20世纪50年代的弗朗茨·克莱恩的作品联系起来。大约在这个时候，克莱恩自己开始在他的拼贴画和绘画中加入颜色；就像博尔顿·兰丁一样，他的不朽的国王·奥利弗以黄色、橙色和蓝色的调色板为特色，被强大的黑色垂直和水平轮廓所截取“(J.Field，”全臂扫描“J.Elderfield，”J.Elderfield，德·库宁：一次回顾，“猫”，现代艺术博物馆，纽约，2011年，p。320)。对克莱恩来说，他的绘画本质并没有随着色彩的增加而改变。他曾经说过：“一片强烈的蓝色或两种不同颜色的相互关系与黑白并不是一回事。在使用颜色时，我从来不想添加或装饰一幅黑白画。我只是想自由地工作。“ 弗朗兹·克莱恩 奥利佛国王 King Oliver 局部 通过相互交织的力量来达到成分平衡，这种力量相互重叠，并以颠簸的色彩生机勃勃，奥利弗国王充满了动态的张力。有组织的混乱感来自于白色对黑色的压力，书法线条与颜色汇合的压力，以及混乱中的能量，“一种‘不平衡’的尴尬感，以及缺乏平衡的试探性现实”(F.Kline)，在D。西尔维斯特一书中。采访美国艺术家，“纽黑文和伦敦”，2001年，p。63)。最终，这些伟大作品中的神秘和不确定性元素赋予了它们持久的力量、权威和吸引观众的能力。克莱的天才是艺术家成熟作品的一个非凡的例子，也是他取得这一成就的时代。奥利弗国王，如Motherwell所述，艺术家“与你分享这一可能的奇迹事件”(R.Motherwell，同上，p.)。134)。克莱恩模仿奥利弗国王的学生路易斯·阿姆斯特朗(Louis Armstrong)，曾对一位观众做出了著名的回答：“我会像路易斯·阿姆斯特朗(Louis Armstrong)那样回答你，就像当他吹喇叭时问他这意味着什么。”观众要求他解释他作品的意义。路易说，‘兄弟，如果你不明白，我就不可能告诉你’“(F.Kline，引用于H.F.Gaugh，同前，p.13) 画家简介 参阅 阴山工作室 美国抽象表现主义画家弗朗兹·克莱恩(Franz Kline） 作品资料 King Oliver 成交总额USD 26,485,000 估价USD 25,000,000 - USD 35,000,000 signed and dated 'FRANZ KLINE 58' (on the reverse) oil on canvas 99 x 77 1/2 in. (251.4 x 196.8 cm.) Painted in 1958. 拍卖 2891 战后及当代艺术 (晚间拍卖) 纽约|2014年11月12日 拍品 23 来源 Sidney Janis Gallery, New York Isobel and I. Donald Grossman, New York, circa 1958 Mitchell-Innes & Nash, New York Private collection, Paris C & M Arts, New York Private collection, San Francisco Acquired from the above by the present owner 展览历史 New York, Sidney Janis Gallery, New Paintings by Franz Kline, May-June 1958. New York, Sidney Janis Gallery, Franz Kline: Memorial Exhibition, December 1963, no. 12 (illustrated). Los Angeles County Museum of Art, New York School: the First Generation. Paintings of the 1940's and 1950's, July-August 1965, p. 128, no. 59 (illustrated in color). Turin, Castello di Rivoli Museo d'Arte Contemporanea, Franz Kline 1910-1962, October 2004-January 2005, pp. 260-261 and 300 (illustrated in color). 相关文献 T. Hess, "Reviews and Previews: Franz Kline," ARTNews, Summer 1958, p. 14 (illustrated). M. Sawin, "In the Galleries: Franz Kline," Arts Magazine, September 1958, p. 57. I. Sandler, The Triumph of American Painting: A History of Abstract Expressionism, New York, 1970, p. 254, pl. 23 (illustrated in color). 25 Years of Janis, exh. cat., New York, Sidney Janis Gallery, 1974, pl. 110 (illustrated). The Vital Gesture: Franz Kline, exh. cat., Cincinnati Art Museum, 1985, pp. 113-114 and 141. A. Kingsley, "Franz Kline in Provincetown," Provincetown Arts, August 1985, pp. 6-7. Franz Kline: Art and the Structure of Identity, exh. cat., Barcelona, 1994, pp. 176, 187 and 188. de Kooning: A Retrospective, exh. cat., New York, The Museum of Modern Art, 2011, p. 320, no. 5 (illustrated in color). 阴山工作室 本文图片及英文资料均来自佳士得官方网站，局部细节图片及中文资料系阴山工作室所加。参考译文由腾讯翻译插件自动生成，或有疏谬在所难免。 大图下载 弗朗兹·克莱恩《奥利佛国王》（King Oliver，纽约苏富比）原图 ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 阴山箴言 阅画千卷，不如读透一帧 |
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