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Willem de Kooning, Woman, I (from MoMA) (video) | Khan Academy 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. He pursued inspired accidents of the brush, of which some worked and could stay, while others did not and had to be scraped out. He pursued inspired accidents of the brush, of which some worked and could stay, while others did not and had to be scraped out. Expressionist, yes, but he kept painting the figure, even if here she is defined within her indeterminate surroundings mainly by charcoal sketching. Willem de Kooning’s first paintings of female figures were made in 1940, some of them inspired by Elaine Fried, who he would later marry.Various influences for this series have been suggested, both by the artist and several critics, from the Mesopotamian figurines on display at New York’s Metropolitan Museum of Art, to the grinning mouths of ‘pin-up’ girls, images of which de Kooning often cut from magazines and attached to his work.Text © National Gallery of Australia 2018 Sidney Tillim, 'The figure and the figurative in Abstract Expressionism', Franz Schulze, 'Reflections on de Kooning', George Dickerson, 'The man who painted "Woman V" ', Elwyn Lynn, 'The 1976 Adelaide Festival and two spectacular women', Thomas B Hess, 'Four pictures by de Kooning at Canberra', Patrick McCaughy, ‘The modern period and the Australian National Gallery’, James Mollison and Laura Murray eds, Paul Cummings, Jörn Merkert and Claire Stoullig, Michael Lloyd and Michael Desmond, Donald Williams and Barbara Vance Wilson, David Lee, ‘American Art: The Good, the Bad and Julian Schnabel’, Christos M. Joachimides and Norman Rosenthal eds, David Sylvester and Richard Shiff, Lina Tesoriero and Barbara Brinton, Michael Desmond, ‘Willem de Kooning 1904–1997: An appreciation’ Lucina Ward, ‘A dame, some clams and the broad: Willem de Kooning at the NGA’, Cornelia Butler and Paul Schimmel, Anthony White, ‘Art metropolis: A new display of international art’ in Brian Kennedy, ‘The art of Sean Scully: a human spirituality’, Text © National Gallery of Australia, CanberraThis 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. 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). 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 During the summer of 1952, spent at East Hampton, de Kooning further explored the theme through drawings and pastels. It’s more joyous.”In the early 1950s, artists and critics championing abstraction had declared the human figure obsolete in painting. 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.
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.
Willem de Kooning, Woman, I (from MoMA) (video) | Khan Academy 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. He pursued inspired accidents of the brush, of which some worked and could stay, while others did not and had to be scraped out. He pursued inspired accidents of the brush, of which some worked and could stay, while others did not and had to be scraped out. Expressionist, yes, but he kept painting the figure, even if here she is defined within her indeterminate surroundings mainly by charcoal sketching. Willem de Kooning’s first paintings of female figures were made in 1940, some of them inspired by Elaine Fried, who he would later marry.Various influences for this series have been suggested, both by the artist and several critics, from the Mesopotamian figurines on display at New York’s Metropolitan Museum of Art, to the grinning mouths of ‘pin-up’ girls, images of which de Kooning often cut from magazines and attached to his work.Text © National Gallery of Australia 2018 Sidney Tillim, 'The figure and the figurative in Abstract Expressionism', Franz Schulze, 'Reflections on de Kooning', George Dickerson, 'The man who painted "Woman V" ', Elwyn Lynn, 'The 1976 Adelaide Festival and two spectacular women', Thomas B Hess, 'Four pictures by de Kooning at Canberra', Patrick McCaughy, ‘The modern period and the Australian National Gallery’, James Mollison and Laura Murray eds, Paul Cummings, Jörn Merkert and Claire Stoullig, Michael Lloyd and Michael Desmond, Donald Williams and Barbara Vance Wilson, David Lee, ‘American Art: The Good, the Bad and Julian Schnabel’, Christos M. Joachimides and Norman Rosenthal eds, David Sylvester and Richard Shiff, Lina Tesoriero and Barbara Brinton, Michael Desmond, ‘Willem de Kooning 1904–1997: An appreciation’ Lucina Ward, ‘A dame, some clams and the broad: Willem de Kooning at the NGA’, Cornelia Butler and Paul Schimmel, Anthony White, ‘Art metropolis: A new display of international art’ in Brian Kennedy, ‘The art of Sean Scully: a human spirituality’, Text © National Gallery of Australia, CanberraThis 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. 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). 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 During the summer of 1952, spent at East Hampton, de Kooning further explored the theme through drawings and pastels. It’s more joyous.”In the early 1950s, artists and critics championing abstraction had declared the human figure obsolete in painting. 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.
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.