Fine Art Poster
From £37
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Zinkgult - Franz Kline
Ordinarie pris
£37.00 GBP
Reapris
£37.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
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Beskrivning
Ett slående exempel på abstrakt expressionism, "Zinc Yellow" av Franz Kline, uppvisar djärva penseldrag och en dynamisk komposition i en begränsad palett av gult, svart och vitt.
Franz Kline (1910-1962) var en amerikansk målare associerad med den abstrakta expressionistiska rörelsen. Hans verk kännetecknas av djärva, gestikulativa drag, vanligtvis i svart och vitt, även om han utforskade färg i några av sina målningar. Klines stil jämförs ofta med kalligrafi, men han hävdade att hans målningar inte handlade om något specifikt; snarare handlade de om själva handlingen att måla. Han hämtade inspiration från stadsmiljön och det industriella landskapet i sin omgivning. "Zinc Yellow" exemplifierar Klines utforskning av färg inom hans signaturstil. Målningen har ett stort, rektangulärt fält av ljusgult, kontrasterat med dynamiska svarta och vita penseldrag. Kompositionen är asymmetrisk, med det gula området som dominerar den högra sidan av duken, medan de svarta och vita elementen är koncentrerade till vänster. Penselarbetet är energiskt och spontant, vilket förmedlar en känsla av omedelbarhet och rörelse. Den begränsade paletten förstärker den visuella effekten och skapar en slående kontrast mellan färgerna och formerna.
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Tillverkning
Varje tryck produceras på beställning med 12-färgs gicléetryck på FSC-certifierat arkivpapper. Designade i Storbritannien och tryckta vid närmaste produktionsanläggning för att minska avfall och snabba upp leveransen.
Komplettera looken
Zinkgult - Franz Kline
Ordinarie pris
Från £37.00 GBP
Reapris
Från £37.00 GBP
Ordinarie pris
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Franz Kline
Kline painted black and white. Large canvases, housepainter's brushes, industrial enamel. The strokes are enormous, fast, and structural: they look like bridges, girders, railway trestles, the infrastructure of an industrial city rendered as abstract gesture. He grew up in the coal country of eastern Pennsylvania and the heavy forms of mining and railroad architecture stayed in his work.
He studied at Boston University and the Heatherley School of Fine Art in London, then spent the 1940s painting figurative work in New York. The shift to abstraction came suddenly, according to legend, when de Kooning projected one of Kline's small drawings onto a wall using a Bell-Opticon projector. The enlarged image, freed from its original scale, became something else entirely. Kline began painting large.
The black and white paintings of 1950-61 are his contribution. Mahoning, Chief, and Painting Number 2 are decisive, architectural compositions that look spontaneous but were carefully planned. He made small preparatory studies on telephone book pages and newspaper, working out the balance of black and white before scaling up. The white is not background; it is as active and deliberate as the black.
He reintroduced colour in his last years, which surprised people who had defined him by its absence. He died of heart disease in 1962, at fifty-one. The career lasted roughly twelve years. The paintings are in every major museum of modern art.
He studied at Boston University and the Heatherley School of Fine Art in London, then spent the 1940s painting figurative work in New York. The shift to abstraction came suddenly, according to legend, when de Kooning projected one of Kline's small drawings onto a wall using a Bell-Opticon projector. The enlarged image, freed from its original scale, became something else entirely. Kline began painting large.
The black and white paintings of 1950-61 are his contribution. Mahoning, Chief, and Painting Number 2 are decisive, architectural compositions that look spontaneous but were carefully planned. He made small preparatory studies on telephone book pages and newspaper, working out the balance of black and white before scaling up. The white is not background; it is as active and deliberate as the black.
He reintroduced colour in his last years, which surprised people who had defined him by its absence. He died of heart disease in 1962, at fifty-one. The career lasted roughly twelve years. The paintings are in every major museum of modern art.
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Specifika funktioner
Varje Solis-konstverk tillverkas på beställning med arkivbeständiga material av gallerikvalitet som är byggda för att hålla.
- Giclée-tryck i museikvalitet för fylliga, blekningsbeständiga färger
- Arkivbeständigt matt konstpapper, FSC-certifierat
- Flera storlekar och inramningsalternativ tillgängliga
- Ramar i svart, naturträ, mörkt trä eller vitt
- Inramade tryck levereras klara att hänga upp
Skötsel & rengöring
För att bevara ditt konstverk i bästa skick:
- Damma försiktigt med en mjuk, torr trasa
- Undvik långvarigt direkt solljus
- Använd aldrig flytande rengöringsmedel på trycket eller dukytan
- Förvara på en torr plats i rumstemperatur
- Hantera tryck med rena, torra händer
Material och storlek
Gicléeutskrift av museikvalitet på FSC-certifierat matt arkivpapper, med inramade alternativ och alternativ på canvas.
- Pappersstorlekar: A4, A3, A2, A1, A0 och B2 (50×70 cm)
- Canvas: XS (20×30 cm) till Large (60×90 cm)
- Ramar: svart, naturligt trä, mörkt trä eller vit
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Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From £59
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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Material av museikvalitet
Artistbiografi
Franz Kline
Kline painted black and white. Large canvases, housepainter's brushes, industrial enamel. The strokes are enormous, fast, and structural: they look like bridges, girders, railway trestles, the infrastructure of an industrial city rendered as abstract gesture. He grew up in the coal country of eastern Pennsylvania and the heavy forms of mining and railroad architecture stayed in his work.
He studied at Boston University and the Heatherley School of Fine Art in London, then spent the 1940s painting figurative work in New York. The shift to abstraction came suddenly, according to legend, when de Kooning projected one of Kline's small drawings onto a wall using a Bell-Opticon projector. The enlarged image, freed from its original scale, became something else entirely. Kline began painting large.
The black and white paintings of 1950-61 are his contribution. Mahoning, Chief, and Painting Number 2 are decisive, architectural compositions that look spontaneous but were carefully planned. He made small preparatory studies on telephone book pages and newspaper, working out the balance of black and white before scaling up. The white is not background; it is as active and deliberate as the black.
He reintroduced colour in his last years, which surprised people who had defined him by its absence. He died of heart disease in 1962, at fifty-one. The career lasted roughly twelve years. The paintings are in every major museum of modern art.
He studied at Boston University and the Heatherley School of Fine Art in London, then spent the 1940s painting figurative work in New York. The shift to abstraction came suddenly, according to legend, when de Kooning projected one of Kline's small drawings onto a wall using a Bell-Opticon projector. The enlarged image, freed from its original scale, became something else entirely. Kline began painting large.
The black and white paintings of 1950-61 are his contribution. Mahoning, Chief, and Painting Number 2 are decisive, architectural compositions that look spontaneous but were carefully planned. He made small preparatory studies on telephone book pages and newspaper, working out the balance of black and white before scaling up. The white is not background; it is as active and deliberate as the black.
He reintroduced colour in his last years, which surprised people who had defined him by its absence. He died of heart disease in 1962, at fifty-one. The career lasted roughly twelve years. The paintings are in every major museum of modern art.
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