#Franz kline black subjectivity free#

The first research questions generally concerned the visual processes underlying aesthetic experience. These results support the role of embodied simulation of artist’s gestures in the perception of works of art.Įarly neuroscientific interest in the relationship between art and brain began to emerge in works by Changeux and Zeki, in the 1990s. The cortical sensorimotor activation is a fundamental neurophysiological demonstration of the direct involvement of the cortical motor system in perception of static meaningless images belonging to abstract art.

In addition, abstract works of art observation elicited the activation of reward-related orbitofrontal areas, and cognitive categorization-related prefrontal areas. Results verified our experimental hypothesis showing the activation of premotor and motor cortical areas during stimuli observation. The stimuli consisted of three different abstract black and white paintings by Franz Kline. We aimed to demonstrate a direct involvement of sensorimotor cortical circuits during the beholding of these selected works of abstract art. The EEG data were analyzed by using Event Related Potentials (ERPs). 177).The aim of this study was to test the involvement of sensorimotor cortical circuits during the beholding of the static consequences of hand gestures devoid of any meaning.In order to verify this hypothesis we performed an EEG experiment presenting to participants images of abstract works of art with marked traces of brushstrokes.

'Mestres del collage: de Picasso à Rauschenberg,' November 25, 2005–February 26, 2006, unnumbered cat. Castello di Rivoli Museo d'Arte Contemporanea. 'Expresionismo Abstracto: Obra Sobre Papel, Colección The Metropolitan Museum of Art, Nueva York,' May 9–July 2, 2000, no. 'Abstract Expressionism: Works on Paper, Selections from The Metropolitan Museum of Art,' March 11–June 4, 1995, no. 'Franz Kline: Art and the Structure of Identity,' December 11–February 5, 1995, no. 'Franz Kline: Art and the Structure of Identity,' September 27–November 21, 1994, no. Museo Nacional Centro de Arte Reina Sofía. 'Franz Kline: Art and the Structure of Identity,' July 8–September 11, 1994, no. 'Franz Kline: Art and the Structure of Identity,' March 18–June 5, 1994, no. 'Abstract Expressionism, Works on Paper: Selections from The Metropolitan Museum of Art,' May 4–September 12, 1993, extended to November 7, 1993, no. 'Abstract Expressionism, Works on Paper: Selections from The Metropolitan Museum of Art,' January 26–April 4, 1993, no. 'Abstract Expressionism, Other Dimensions: An Introduction to Small Scale Painterly Abstraction in America, 1940–1965,' March 25–June 13, 1990, no. '5000 Years of Art: An Exhibition from the Collections of The Metropolitan Museum of Art,' December 4, 1976–October 2, 1977, no. 'Business Buys American Art,' March 17–April 24, 1960, no. In this case, the central black shape is a mirror image of the shape in a black and white untitled painting of 1954. 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. The sweeps and rapid brushings of both thick and diluted paint are the product of much meditation. Kline's work, so apparently spontaneous or impulsive in its emphasis on highly dramatic gestural brushstrokes, is, in fact, carefully considered. Black Reflections, an intensely colored small work on paper, may in fact relate to an earlier black and white piece. 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. 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.

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). Large-scale black and white compositions of energetic, dramatic gestures in which wide swaths of paint thrust across the canvas. By late 1950, he was exhibiting abstract work that immediately brought him success.

#Franz kline black subjectivity free#

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 that time, he was ready to concentrate on formal concerns, and his friendship with Willem de Kooning helped pave the way. Kline arrived at Abstract Expressionism later than others, having continued working in a figural style redolent of American Scene painters into the late 1940s.