Surely LeRoy Neiman's sin — committed in the early 1950s, at the apex of Abstract Expressionism, and ensuring him a career of scorn — was to convert the hallmarks of painters like Franz Kline and Jackson Pollock (the splash, slash, dribble, and daub) into a signature for spasmodic expressionist /
impressionist pictures of everything from Playboy bunnies to sporting events to presidents.