Franz Kline - New York, New York, 1953. Albright-Knox Gallery, Buffalo. It was De Kooning who in 1949 borrowed a Bell Opticon projector to enlarge some of his own drawings. Offered the use of it, Kline took a small drawing of a favourite chair and projected this on to canvas on such a large scale that it completely overlapped the edges. He was fascinated to note that the design, in these circumstances, became completely abstract. �
King Oliver, 1958. Franz Kline (1910-1962). Kline sought in the later 1950s to maintain a stylistic development. He was to introduce a full range of color. Some black-and-white paintings had already retained traces of sombre hues, but now Kline returned to the strident palette that he had largely eschewed since the later 1940s, as in the clashing green, red, and purples of King Oliver.