Seven Studies c. 1950

Franz Kline made these 'Seven Studies' with ink on paper, and what strikes me first is the energy, the sheer physicality of his marks. It's all about the process, you know, letting the brush dance and do its thing. The ink varies from a diluted wash to a thick, juicy black, giving real depth and texture to each study. Look at the upper right block: the confident, almost calligraphic lines create these ambiguous shapes, maybe figures or architectural fragments. It's as if Kline is wrestling with form, finding a balance between control and chaos. The varying tonality caused by the dilution and pooling of the ink really brings a chaotic sense to the piece. Kline reminds me a little of Cy Twombly, both playing with gesture and abstraction, but Kline has this raw, industrial edge. Ultimately, it's all about the conversation between artists, each pushing the boundaries of what paint—or ink—can do. It’s never fixed, always evolving.