Even the very
thickness of the white paint, whether a thin film or layered deep, demands his attention.
Not exact matches
The compositions feature large clumps
of broad back - and - forth gray and
white brushstrokes — think
of whitewashed windows or rubbed - out chalk on blackboards — through which wander black spray -
painted lines
of varying
thickness that suggest bent rebar or mangled wire coat hangers.
Its stack
of broad
white strokes over brighter colors might almost coalesce into the clouds and sky
of a church ceiling by Tiepolo or Goya, but the
thickness of the
paint brings the work down to earth — and the modern world — with no loss
of buoyancy.
A second
white line shoots out horizontally from the center line with a
thickness and slowly tapers off into just a slight glint
of white light, reminiscent
of minimalist painters like Frank Stella and his late 1950s canvases, where the fine
white lines are actually unprimed canvas penetrating outward through the black
paint.
Kline restricted himself to black and
white for several years, and these
paintings are distinguished by the differences that a line suggests when it is varied in attitude,
thickness, or amount
of pigment used.