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In Untitled 11, the form of the image takes shape through the unusual patterns of strokes. Kline used an interesting canvas for this piece by choosing torn and folded newspaper. The line quality is generally thick, heavy strokes. It looks like Kline is using gesture in this piece because of the multitude of line shown in this image. At the same time it seems as though there is purpose in every line. Some art history websites say that it was possible that Kine was trying to imitate Japanese character in his art but he never agreed with this assumption. The value of this piece is shown through the black paint on what may have been originally white showing the extreme contrast. The composition of this image seems very balanced through the almost symmetry you can see by splitting the image vertically. The balance also seems a little off from left to right, seeming a little lighter on the right compared to the left side. There is a lot of movement in this image through the many strokes, though at the same time because the majority of the strokes connect and form one motion there could be very little movement seen. This image shows at first glance a simplicity through the basic lines and shapes and yet with a second glance you can see that there is more complexity in the medium and in the variety of the strokes. You almost cant make out a coherent subject but as mentioned it could have connections to Japanese characters. By 1950 Kline began to develop his signature style of seemingly spontaneous black and white paintings. Before making bold brush strokes on a final painting, Kline would tear through phonebook pages, making practice sketches. (http://www.artexpertswebsite.com/pages/artists/kline.php). This suggests that this particular piece doesnt invoke some deeper meaning. In Untitled, the form of the image takes shape through the very sure strokes and line quality. It looks like there was no gesture put into this image all of it seem very sure and structured. The value is black, white, and gray and every spectrum in between. Because of this it seems as though you can almost see the color of the subject. The basic materials used in this image seem to bee charcoal paper and either charcoal of graphite. This image seems to be almost perfectly balanced in both darkness and symmetry. The contrast of the piece is shown through the almost white background and just a little bit darker skin. Assael seems to have great control of the lines because of the depth and realism you can see through this image. This image is a portrait of it seems either an African or South American woman. The larger concept behind this drawing seems to be showing humanity and yet the amazing culturalism of this woman. The evidence behind this is

shown through a quote found in an artist journal. He is known best for his figural compositions, in which he portrays humanity with empathy as well as subversion. (Jordan). In Horsemen, the form of the image takes shape through the subtle strokes. These strokes are formed by the swift and dissipating line. This image, as opposed to Assaels seems to use gestures a little bit more, though at the same time each brush stroke was meant to define something or someone in the image. The value, once again is portrayed through white medium/paper and black ink defining the image. The composition of the piece is pretty much balanced with one horseman per side of the painting. They also each occupy an area dictated by the rule of thirds. The contrast of this piece isnt as strong as the previous two because of the lightness of the strokes. Though in some ways that makes the contrast greater because there is so little black surrounding areas of white. These three pieces have quite a bit in common in their composition if not also in their form. All three images dont use a large amount of gesture though you can almost make some out in the initial formation of the image. All three images employ great balance through the shading and contrast of black against white. At the same time the differences in their contrasts make them unique. Horsemen and Untitled 11 both employ the use of simple strokes coming together to create a whole image whereas in Untitled the strokes and lines have complexity not seen in the others.

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