Kline shared Tobey's gestural approach to abstraction and drew heavily on urban New York energy as visual inspiration, creating bold spontaneous marks that evoke metropolitan dynamism in a similarly expressive Abstract Expressionist vocabulary.

Tomlin worked in a closely related vein of lyrical abstraction during the same 1950s period, using rhythmic gestural marks and calligraphic strokes on compressed picture planes that strongly parallel Tobey's dense compositional energy.

Mathieu pioneered a European lyrical abstraction built on rapid gestural application of paint across dense surfaces, sharing Tobey's interest in movement, spontaneous mark making, and the translation of urban complexity into abstract compositional rhythm.