Franz Kline, ‘Provincetown II’, Christie's

Franz Kline (1910-1962)

Provincetown II

signed, titled and dated 'FRANZ KLINE 59 PROVINCETOWN II’ (on the reverse)

oil on canvas

93 x 79 in. (236.2 x 200.7 cm.)

Painted in 1959.

Signature: signed, titled and dated 'FRANZ KLINE 59 PROVINCETOWN II’ (on the reverse)

New York, Sidney Janis Gallery, New Paintings by Franz Kline, March-April 1960, no. 9 (illustrated).

Venice, XXX Biennale Internazionale di Venezia, June-October 1960.

New York, Marlborough-Gerson Gallery, Franz Kline 1910-1962, March 1967, p. 21, no. 11 (illustrated in color).

Washington D.C., The Phillips Collection; Houston, Institute for the Arts at Rice University; Los Angeles County Museum of Art and Seattle Art Museum, Franz Kline: The Color Abstractions, February-November 1979, p. 54, no. 6 (illustrated in color).

New York, Allan Stone Gallery, Franz Kline: Architecture & Atmosphere, October 1997-January 1998, no. 57 (illustrated in color).

J.S., “Reviews and Previews,” _Art News,_v. 59, April 1960, p. 12 (Illustrated).

“The 30th Venice Biennale: Illustrations,” _Art International,_4, September 1960, p. 41 (illustrated).

R. Goldwater, “Franz Kline: Darkness Visible,” _Art News,_v. 66, March 1967, p. 41 (illustrated in color).

Willem de Kooning: Drawings, Paintings and Sculpture, exh. cat., Whitney Museum of American Art, New York, 1983, p. 127, fig. 9 (illustrated).

Estate of the Artist, New York

David McKee Gallery, New York

Stephen Edlich, New York

Mr. and Mrs. Irving C. Deal, Dallas

Allan Stone Gallery, New York

Acquired from the above by the present owner

About Franz Kline

Abstract Expressionist Franz Kline is known for his large black-and-white paintings that treat the medium of oil with a calligraphic freedom, influenced by his acquaintance with Willem de Kooning. Kline viewed his gestural painting not as an expression of his emotions but as a means to create a physical form and presence that could be felt by the viewer, and would inspire Minimalist sculptors like Donald Judd and Richard Serra with his reluctance to attribute hidden meanings to his work. Starting in the late 1950s, Kline executed a series of monumental works, known as the "wall paintings," and began to reintroduce color to his black-and-white palette.

American, 1910-1962, Wilkes-Barre, Pennsylvania, based in New York, New York