But de Kooning's use of the image of woman was more than just a rejection of the radical prohibition on depictions of the figure; it linked and contrasted his work with an established tradition: 'The Women had to do with the female painted through all the ages, all those idols …'.De Kooning indicated that the Mesopotamian figurines on display at the Metropolitan Museum, New York, very much influenced him.
Expressionist, yes, but he kept painting the figure, even if here she is defined within her indeterminate surroundings mainly by charcoal sketching.
He put into the canvas everyone’s desire, frustration, conflict, pleasure and pain.
its physicality, and that ‘flesh was the reason oil paint was invented’.Text © National Gallery of Australia, Canberra 2010 This painting’s impact comes from the apparent conflict between the violence of the brush marks and the subject of woman, between the slashing strokes and her big smile.
Assessment has veered between Willem de Kooning’s own assurance that he was after ‘some of the enchantment and sunny charm of the All-American girl’, and condemnation from feminist critics for his viciousness and brutality.Here is the turmoil of an artist who could leave nothing out. The works are influenced by sources ranging from Paleolithic fertility fetishes to American billboard advertisements, and the attributes of this particular figure seem to include both the vengeful power of the goddess and the hollow seductiveness of the calendar pinup. De Kooning made numerous preliminary studies then repainted the canvas repeatedly, eventually arriving at this hulking, wild-eyed figure of a woman. It’s more joyous.”In the early 1950s, artists and critics championing abstraction had declared the human figure obsolete in painting. Instead of abandoning the figure, however, de Kooning revisited this age-old subject through the sweeping brushwork of In 2018–19, MoMA collaborated with Google Arts & Culture Lab on a If you notice an error, please contact us at If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact All requests to license audio or video footage produced by MoMA should be addressed to Scala Archives at If you would like to reproduce text from a MoMA publication or moma.org, please email Woman I took him an unusually long time to complete: he made numerous preliminary studies, then repainted the canvas repeatedly, eventually arriving at this figure of a woman, the first of a series.
De Kooning's response was to begin three other paintings on the same theme; Woman II (The Museum of Modern Art, New York), Woman III (Tehran Museum of Contemporary Art), Woman IV (Nelson Gallery-Atkins Museum, Kansas City). The wide eyes, smiles, prominent breasts and tapering arms of these figures are echoed in the features of the women.Michael Lloyd & Michael Desmond Text © National Gallery of Australia, Canberra It took him many months; he worked on the six canvases in the De Kooning is proof that not all members of the New York School were Abstract Expressionists. Woman I is the first in the group of Woman paintings that de Kooning began in 1950. Willem de Kooning, Woman, I (from MoMA) (video) | Khan Academy “Flesh is the reason oil paint was invented,” de Kooning once remarked, and although he painted many abstractions he continually returned to the figure.
By visiting our website or transacting with us, you agree to this. During the summer of 1952, spent at East Hampton, de Kooning further explored the theme through drawings and pastels. Expressionist, yes, but he kept painting the figure, even if here she is defined within her indeterminate surroundings mainly by charcoal sketching.
Assessment has veered between Willem de Kooning’s own assurance that he was after ‘some of the enchantment and sunny charm of the All-American girl’, and condemnation from feminist critics for his viciousness and brutality.Here is the turmoil of an artist who could leave nothing out.
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