ABSTRACT
Enrico Crispolti—one of the most important Italian art critics of the period—dedicated this article to the painting of Franz Kline in 1957. Crispolti reads Kline’s paintings in a relationship with Oriental calligraphy and international Tachism, an interpretation that found widespread support in Italy in the following years. In other words, Kline discovered a possibility of continual admonition of human morality and civil presence precisely in the intrinsic emotional possibility of contemporary humanity, which he underlined with increasing peremptoriness. The process of Kline’s clarification must have happened in the form of an increasing and therefore more emphatic capacity of emotive excitement, as of course was the natural result of a more unique qualification and distinction of the very nature of that emotivity. Kline acquires the definitive layout of his painting in a sketch, which is redrawn for its realization on canvas, almost using a traditional method.
