Like his other abstract paintings, it started as a sketch that he then enlarged through the use of a projector on the canvas. His painting, Mahoning (1956) was named for a town in Pennsylvania near where Kline lived. In 1950 he had had his first one-man show at the Egan Gallery in New York, in 1954 he had a one-man show of large paintings at the Institute of Design in Chicago, and the same year he had nine paintings included in the Twelve Americans show at the Museum of Modern Art. He made his home at 32 East 10th Street from 1953 to 1957, during which time some of his most noteworthy works were produced and he was in many ways at the height of his career. He was also a founding member of “the Club,” an extremely influential collective of New York School painters located just two blocks south at 35 East 8th Street, and was very connected to the 10th Street Gallery Scene just east of his home and studio (more here). Kline was very much a regular at the nearby Cedar Tavern (located just around the corner at 24 University Place near 9th Street), like so many of his fellow abstract expressionist painters. His style of painting was what art critic Harold Rosenberg referred to as ‘action painting,’ and during the 1950s he became a key figure in the abstract expressionist movement. He was known for his black and white abstractions using house paint. He started his artistic career as a realist painter, but after meeting Willem de Kooning his style evolved to what would be his signature abstract approach to painting. 32 East 10th Street was no exception its top floor became the home and studio of abstract expressionist painter Franz Kline.įranz Kline (1910-1962) was born in Wilkes Barre, Pennsylvania and moved to New York City in 1938. By the mid-1950s, this area on the eastern edge of Greenwich Village straddling what we would today call the East Village became the center of the art world, particularly the “New York School’ of Abstract Expressionist artists. Following an alteration in 1898, directories show that its use switched from residential to manufacturing. It was originally built as a residence and it continued to serve in that capacity until the end of the 19th century. Field & Son for Henry Naylor and altered in 1885 following a fire.
1870 building at 32 East 10th Street was designed by W.
#Franz kline abstract paintings series
This post is part of our blog series Why Isn’t This Landmarked?, where we look at buildings in our area we’re fighting to protect that are worthy of landmark designation, but somehow aren’t landmarked.
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