Willem de Kooning: Tracing the Figure [Englisch] [Gebundene Ausgabe]

At the forefront of modern art during the 1950s, painter Willem de Kooning secured his place in art history with the unveiling of his "Woman" series. Colorful, brash paintings composed of bold, violent brush strokes were seen by critics and viewers as vulgar and problematic but unfailingly important in their merging of abstract and representational forms. The Museum of Contemporary Art in Los Angeles presents, in conjunction with an exhibition of the same name, Willem de Kooning: Tracing the Figure, a collection of drawings and studies that led up to the famous "Woman" paintings. Seen as completed works in their own right, these drawings bear de Kooning's distinctive draftsmanship of powerful lines, erasures, scrapings, and strong color. Blurred images of the figure coming apart at the seams, the works look as if they were made during an emotional explosion, though de Kooning's work process was known to be rather laborious. Four insightful essays complement the arresting images, including a remarkable discussion on the social ramifications of de Kooning's vision of the female form by curator Cornelia H. Butler. This well-crafted book is perfect for any fan of modern painting. --J.P. Cohen

The vivid reproductions in Tracing the Figure show de Kooning's frenzied mind and hand at work ... as he developed his distinctive style... This wonderfully produced book traces de Kooning's development from early figurative drawings to the studies tat led to Woman I, the painting that he worked on for almost two years, and that ended up defining his career. Modern Painters Highly recommended for anyone interested in the phenomenon that was abstract expressionism in the mid-20th-century US (or for anyone who is simply looking for something on De Kooning that is clearly written and carefully researched). Choice

Willem de Kooning, one of the pioneers of Abstract Expressionism, experimented with the human form throughout his career. An artist deeply sceptical about Western ideals of beauty, he focused on anatomical fragmentation and spatial ambiguity to express the fleeting nature of the individual. This book, published in conjunction with an exhibition originating at The Museum of Contemporary Art, Los Angeles, explores de Kooning's drawings of the female form between 1940 and 1955. It reveals an artist who struggled to eliminate traditional barriers between drawing and painting as he explored ambiguities between the figure and its background. De Kooning relied on early-20th-century abstraction in his initial attempts to redefine the figure, drawing and re-drawing the same line until he resolved the image. Beginning in 1947-49, he synthesized abstraction and figuration, dismembering figures and rearranging them with seeming randomness. As his figural compositions developed, geometric configurations transformed into architectural elements (suggesting windows, doors, mirrors, paintings and furniture) to create ambiguous space. In 1951, de Kooning abruptly returned to depictions of women. Usi

Willem de Kooning, one of the pioneers of Abstract Expressionism, experimented with the human form throughout his career. An artist deeply sceptical about Western ideals of beauty, he focused on anatomical fragmentation and spatial ambiguity to express the fleeting nature of the individual. This book, published in conjunction with an exhibition originating at The Museum of Contemporary Art, Los Angeles, explores de Kooning's drawings of the female form between 1940 and 1955. It reveals an artist who struggled to eliminate traditional barriers between drawing and painting as he explored ambiguities between the figure and its background. De Kooning relied on early-20th-century abstraction in his initial attempts to redefine the figure, drawing and re-drawing the same line until he resolved the image. Beginning in 1947-49, he synthesized abstraction and figuration, dismembering figures and rearranging them with seeming randomness. As his figural compositions developed, geometric configurations transformed into architectural elements (suggesting windows, doors, mirrors, paintings and furniture) to create ambiguous space. In 1951, de Kooning abruptly returned to depictions of women.

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Cornelia Butler is Curator at the Museum of Contemporary Art, Los Angeles, where she has organized numerous exhibitions, most recently "Flight Patterns" and "The Social Scene." Paul Schimmel is Chief Curator at the Museum of Contemporary Art, Los Angeles. His exhibitions include "The Interpretive Link," "The Figurative Fifties," and "Out of Actions." Richard Shiff is Effie Marie Cain Regents Chair in Art and directs the Center for the Study of Modernism at the University of Texas, Austin. He is the author of Cezanne and the End of Impressionism. Anne Wagner is Professor of Art History at the University of California, Berkeley. She has published Jean-Baptiste Carpeaux and Three Artists (Three Women).