Willem de Kooning 1904, Rotterdam, Netherlands -1997, East Hampton, NY, USA
Further images
Untitled, 1987 emphatically reveals Willem de Kooning as a mature artist working at the height of his creative powers. Here, the buoyant graceful lines of de Kooning’s abstract calligraphy are utterly sensual, and with his reduced and lyrical palette, nowhere is his grand ability as a colorist more poetically asserted than in these late masterpieces. The cascading lines describe a spatial openness and delicate balance that is freer and utterly confident as de Kooning literally draws on canvas in his purest fashion.
“I am becoming freer. I feel that I have found myself more in the sense that I have all my strength at my command. I think you can do miracles with what you have, if you accept it… I am more certain the way I use the paint and the brush.”
Выставки
Willem de Kooning: 1987. Matthew Marks Gallery, New York, Nov–Dec 2001Willem de Kooning: The Late Paintings, 1980s. Museum of Modern Art, San Francisco, Oct 3, 1995–Jan 7, 1996; Walker Art Center, Minneapolis, Feb 3–May 8, 1996; Städtisches Kunstmuseum, Bonn, Jun 14–Aug 11, 1996; Museum Boymans-van Beuningen, Rotterdam, Sep 9–Nov 23, 1996; Museum of Modern Art, New York, Jan 22–Apr 29, 1997
Публикации
Andrew Decker. The de Kooning Landscape (New York: Art News, no. 6, 1996) p. 43Robert Storr. A Painter’s Testament: de Kooning in the ’80s (New York: MoMA Magazine, Winter/Spring, 1997) p. 17
Edward J. Sozanski. De Kooning’s Late Art Startlingly Impressive (Philadelphia: Philadelphia Enquirer, February 2, 1997)
Kenneth Baker. Art World Bustles in Big Apple Backdrop (San Francisco: San Francisco Chronicle, March 25, 1997) p. E3
Edvard Lieber. Willem de Kooning: Reflections in the Studio (New York: Harry N. Abrams, Inc., 2000) p. 92
Alexi Worth. Willem de Kooning. Matthew Marks Gallery (New York: ArtForum, vol. XL, no. 5, January, 2002) p. 142
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