Itamar Allali

Painting Experience
The evolution of art has followed a trajectory that accelerated
throughout history. At first, painting was a mechanism of realistically
recording history. From cave art to catholic renaissance art, the arts
were an attempt to express what was around then and there. Then,
as it progressed, painting veered away from realism towards more
alternative methods. This was in part because of photography. After
cameras were invented, paint was not necessary to record history, so
new styles were born.
The Impressionists
came about, followed
later by surrealists, and
eventually came the
large umbrella of
Modern Art.

Figure 1 Jackson Pollock's Convergence (1952), 237.5cm393.7cm, oil

on canvas. 2009 The Pollock-Krasner Foundation/Artists Rights
Society (ARS), New York.

The art of today and recent history that I have most connected
with is abstract expressionism. Specifically, the non-objective works
of the abstract expressionists of the mid-to-late twentieth century.
This includes art like that of Jackson Pollock, shown in Figure 1. A lot

Itamar Allali

of these artists have inspired me and influenced the way I view my

own work and the way that I interpret art as a whole. I am particularly
passionate about the work of Franz Kline.
Franz Kline was born in WilkesBarre, Pennsylvania. When he
wasvery young, seven years old, his
father committed suicide. After that,
his mother sent him to a school for
fatherless boys. In high school he
began his early art career as a
cartoonist for the school newspaper.

Figure 2 Picture of Franz Kline. (Taken from:

http://structureandimagery.blogspot.com/2011/11/f
ranz-kline-in-color.html).

He later attended Boston University

School of Art, then went to England to

study at Heatherlys School of Art in London.

After he was done with school, Kline went to New York. There
he caught up with the abstract expressionist movement already in
motion. Abstract expressionism is the art of simplified shapes and
active painting. It can be objective, meaning that the simplified
shapes represent real objects or symbols; and it can be nonobjective,

Itamar Allali

meaning that the images are not made to represent any specific
symbols. Kline met other artists that were pioneers in this movement
of American painting. He met artists like Willem de Kooning and
Jackson Pollock, and learned from them, eventually becoming one of
the leaders of this up and coming style of art.

Figure 3 Willem de Kooning. Untitled (1949). 157.2x205.7cm, oil, enamel, and newspaper transfer on
canvas. 2011 Artists Rights Society (ARS), New York

Itamar Allali

Kline was famous for very large black and white paintings full of
active brushstrokes. He was partly inspired by the black and white
paintings done by Willem de Kooning in 1946-49 (Figure 3). Some
people believe that he was inspired by Japanese calligraphy.
However, according to Kline, the inspiration for his work was mostly
from an unconscious intuition of his own.

Figure 4 Franz Kline. Untitled II (1952).

11x9", Ink and oil on cut-and-pasted
telephone book pages on paper on
board. 2014 The Franz Kline Estate /
Artists Rights Society (ARS), New York

One of the things that drew me to Kline was the meaning of his
paintings. Rather, the mystery about their meaning. Kline never
commented on the meanings of his works; it was very important to
him that the spectators of his art were never influenced by any
preconceived ideas. Anyone who wanted to glean meaning from the
black and white paintings would have to have their own original

Itamar Allali

experiences with it. This is something I admire deeply. One of the

most important characteristics we give to good art is its dynamic,
multi-sided nature; good art can be interpreted in many ways, and
can elicit many effects in people. Yet, we spend so much time
discussing the artists intent. Why is that so necessary?

Figure 5 Franz Kline. In-text plate from 21 Etchings and

Poems (1960). 8 3/8 x 14 7/16", photogravure. 2014
The Franz Kline Estate / Artists Rights Society (ARS), New
Yor45k

Franz Kline challenged these notions. He threw away the

concept of the artists intent. Whenever asked, he emphasized the
lack of symbolism in his work. To him, it was about the brushstrokes,
the active marks, the painting experience, as he called it. As a
result, Kline left every piece of his work open to interpretation by his
audience.

Itamar Allali

I see this as one of the best ways we can learn from Kline. No
doubt, when people make art, they often have a meaning, an
emotion, or a response in mind. But in order to be good, versatile,
and profound artists, I think we have to work towards Klines ideal.
Making art that speaks to everyone in a different way That is real
art.

Figure 6 Franz Kline. Painting Number 2(1954). 6' 8 1/2"

x 8' 11", oil on canvas. 2014 The Franz Kline Estate /
Artists Rights Society (ARS), New York

Figure 7 Franz Kline. White

Forms (1955). 6' 2 3/8" x 50
1/4", Oil on canvas. 2014 The
Franz Kline Estate / Artists
Rights Society (ARS), New York

Itamar Allali

Some of my experimentation in the field of nonobjective abstract

expressionism has been in the style of Franz Kline. Maybe not
exactly, but I have tried to do it justice. With my own twists, of course.
I find that the simple nature of his style is what gives it so many
possibilities. By using only black and white, Kline leaves any coloring
of the scene or the emotion to be done by the viewer. In addition, the
expressive strokes and lines can really be transformed into other
objects or feelings, ones that have a strong meaning to the viewer.

Figure 8 The first piece in a series of abstract pieces of mine.

Itamar Allali

Figure 9 The second piece in a series of

abstract pieces of mine.

I dont claim to have done anything near the prestige of Franz

Kline, but I do feel that I have learned a lot from his style and from his
philosophy. My art has always been about meaning. I have never
begun a piece without having a deep and often serious connection to
a meaning. However, as I continue my career, I want to strive to add
more dimensions to my art, to give it more sides for interpretation. I
hope that my work can be a painting experience for people, or if it
isnt in the style of expressionism, then at least a personal
experience.

Itamar Allali

Figure 10 The third piece in a series of abstract pieces of mine.

Figure 11 An addition abstract expressionistic piece of mine.