They were not paintings that you were going to dominate, either as a maker or a viewer and similarly, you are not going to have a polite brushstroke daintily made by holding a brush in one hand and a palette in the other hand, but instead the kind of forceful, gestural strength that means that stroke was made not just with fingers, not just with a wrist, not just with an elbow but with the whole arm and probably even the whole body and when you look at those marks on a Franz Kline painting, you have the feeling almost of bridges in America or railroad tracks or these other parts of the country that were typical of the technologies and the industry that had set America apart in the 19th century. 