Chief (1950)
Artist: Franz Kline
弗朗兹·克莱恩（Franz Kline）鲜明的黑色和白色粗体笔触构成使他成为典型的手势抽象表现主义画家之一。但是，颜色和手段的简单性掩盖了通常很复杂的组成，这些组成平衡了强大的垂直和水平，弯曲的曲线以及不完美的圆形。重要的是，Kline不仅将黑色笔画绘制在白色地面上，而且还在黑色旁边和顶部绘制白色，从而在人物和地面之间建立了诱人的张力。
Franz Kline's stark black and white compositions of bold brushstrokes make him one of the quintessential gestural Abstract Expressionists. The simplicity of the colors and means, though, belies the often complex compositions that balance strong verticals and horizontals, broken curves, and imperfectly formed roundels. Importantly, Kline does not just paint black strokes onto a white ground but also paints the white next to and on top of the black, setting up a beguiling tension between figure and ground.
许多抽象表现主义主义者，包括克莱恩（Kline），都坚持认为他们的绘画是自发的行为，没有事先计划。虽然人们可能会认为这种自发性意味着绘画可以一口气完成，但实际过程却并非如此。实际上，克莱恩（Kline）一直在不断绘图，用他能找到的任何纸甚至是薄的电话簿页面来绘制小的黑色墨水绘图。他的某些画使人联想到这些画中的一个或有时是它们的组合。
Many of the Abstract Expressionists, including Kline, insisted that their paintings were spontaneous acts, without preplanning. While one might assume that this spontaneity means the paintings were done quickly in one sitting, the actual process suggests otherwise. Kline, in fact, was constantly drawing, making small, black ink drawings on any paper he could find, even thin telephone book pages. Some of his paintings are reminiscent of one or sometimes a combination of these drawings.
罗森伯格（Rosenberg）在他的动作绘画文章中叙述了与一位不愿透露姓名的艺术家的谈话，他抱怨他的一位同事（也未命名）是老式的，因为他是用素描创作的，但是罗森伯格通过反驳这位艺术家的抗议说：“没有理由一个动作不能从一张纸延长到一块画布，也不能以另一种规模和更多的控制来重复。草图可以具有小冲突的功能。” 罗森伯格在这里颠覆了这样的观念，即认为在一个画布上进行规划或草绘一个想法是一场恶战，因为人们认为对于行为需要多长时间或绘画仅仅是一个行为没有任何规则或公式。罗森伯格（Rosenberg）的动作绘画概念使自发性概念复杂化，克莱恩（Kline）的《首席》，经过仔细研究，体现了这种复杂性。
In his essay on Action Painting, Rosenberg recounts a conversation with an unnamed artist who complains that one of his colleagues - also unnamed - is old fashioned because he works from sketches, but Rosenberg counters this artist's protestation by saying, "There is no reason why an act cannot be prolonged from a piece of paper to a canvas. Or repeated on another scale and with more control. A sketch can have the function of a skirmish." Here, Rosenberg subverts the preconception that planning, or sketching, an idea before one goes to the canvas is anathema by arguing that there is no rule or formula about how long an action takes or that a painting is simply one action. Rosenberg's conception of Action Painting complicates notions of spontaneity, and Kline's Chief, when carefully studied, embodies that complexity.
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