Abstract Expressionism
Piet Mondriaan
Franz Kline

Helen Frankenthaler
Jackson Pollock
Mark Rothko
Willem DeKooning


AMERICAN ART
Andrew Wyeth
Arthur Dove
Charles Demuth
Charles Sheeler

Damien Hirst

Edward Hopper
Frederick Remington
Georgia O'Keefe
Grant Wood
James Whistler
John Singer Sargent
Norman Rockwell
Verner
Winslow Homer

ART NOUVEAU
Alphonse Mucha
Henri de Toulouse-Lautrec


BAROQUE ART
Caravaggio
Peter Paul Rubens
Rembrandt


BAUHAUS
Paul Klee
Wassily Kandinsky

CONSTRUCTIVISM
Kasimir Malevich


CUBISM
Fernand Leger
George Braque
Juan Gris
Pablo Picasso


DADA - SURREALISM
Henri Rousseau
Man Ray

Marc Chagall
Marcel Duchamp
Max Ernst
Rene Magritte
Salvador Dali


OTHERS

Alexander Calder
Amedeo Modigliani
Ando Hiroshige

Andre Derain
Arthur John
Elsley
Arthur Hughes
Canaletto
Diego Rivera
Eric Waugh
Emily Carr
Frank Stella
Giovanni Piranesi
Giuseppe Arcimboldo
Henri Matisse
Howard Hodgkin
H.R. Giger
James Tissot
Jan Vermeer
Jean Millet
Jean-Michel Basquiat
Joaquin Bastida
John Atkinson Grimshaw
John Constable
Josef Albers
Joseph Turner
Jules Breton
JW Waterhouse
Katsushika Hokusai
Lawrence Alma-Tadema
M.C. Escher

Pierre Bonnard
Robert Delaunay
Raoul Dufy
William A.
Bouguereau



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Franz Kline, born May 23, 1910, in Wilkes-Barre, Pennsylvania. He took art classes at the Boston University Art Students League from 1931 to 1935. In 1935 he went to Heatherley’s Art School from 1936 to 1938 in London England. He settled down in New York in 1939. During the 1930s and 1940s, Kline painted cityscapes and landscapes of the coal-mining district where he was raised as well as commissioned murals and portraits.



At this time, he received awards in several National Academy of Design Annuals. In 1943, Kline met Willem de Kooning at Conrad Marca-Relli’s studio and within the next few years also met Jackson Pollock. Kline’s interest in Japanese art began at this time. His mature abstract style, developed in the late 1940s, is characterized by bold gestural strokes of fast-drying black and white enamel. Jackson Pollock would emmulate much of his gestural style in his own works.




















































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