Aside from the fact that DeKooning and I were born on the same day, I find him an inspiration and a daring artist. The frentic pace of his brush strokes and the “electric” feel of his work jumps off the canvas and indicates to the viewer this is an artist you must pay attention to!
In the post-World War II era, de Kooning painted in a style that came to be referred to as Abstract expressionism or Action painting, and was part of a group of artists that came to be known as the New York School. Other painters in this group included Jackson Pollock, Franz Kline, Arshile Gorky, Mark Rothko, Hans Hofmann, Adolph Gottlieb, Robert Motherwell, Philip Guston and Clyfford Still.
In September 2011 de Kooning’s work was honored with a large-scale retrospective exhibition: de Kooning: A Retrospective September 18, 2011–January 9, 2012 at MoMA in New York City. Organized by John Elderfield it was the first major museum exhibition devoted to the full breadth and depth of de Kooning’s career, containing nearly 200 works.
De Kooning’s parents, Leendert de Kooning and Cornelia Nobel, were divorced when he was about five years old, and he was raised by his mother and stepfather. His early artistic training included eight years at the Rotterdam Academy of Fine Arts and Techniques. In the 1920s he worked as an assistant to the art director of a Rotterdam department store. de Kooning was one of the thirty-eight artists chosen from a general invitation to New York City metropolitan artists to design and paint the 105 public murals at the 1939 New York World’s Fair. His fellow muralist, David Margolis later recounted their 1932 trips to the Savoy Ballroom and de Kooning’s “keen interest in jazz.”
In 1938, probably under the influence of Arshile Gorky, de Kooning embarked on a series of male figures, including Two Men Standing, Man, and Seated Figure (Classic Male), while simultaneously embarking on a more purist series of lyrically colored abstractions, such as Pink Landscape and Elegy. As his work progressed, the heightened colors and elegant lines of the abstractions began to creep into the more figurative works, and the coincidence of figures and abstractions continued well into the 1940s. This period includes the representational but somewhat geometricized Woman and Standing Man, along with numerous untitled abstractions whose biomorphic forms increasingly suggest the presence of figures. By about 1945 the two tendencies seemed to fuse perfectly in Pink Angels.
In 1938, de Kooning met Elaine Marie Fried, later known as Elaine de Kooning, whom he married in 1943. She also became a significant artist. During the 1940s, he became increasingly identified with the Abstract Expressionist movement and was recognized as one of its leaders into the mid-1950s, while notoriously stating: “It is disastrous to name ourselves.” In 1948, de Kooning had his first one-man show, which consisted of his black-and-white enamel compositions, at the Charles Egan Gallery in New York. He taught at Black Mountain College in North Carolina in 1948 and at the Yale School of Art in 1950/51. In 1950, de Kooning was one of 17 prominent Abstract Expressionists and avant-garde artists to sign an open letter to the New York Metropolitan Museum of Art accusing it of hostility towards “advanced art.”
The Willem de Kooning estate is represented by The Pace Gallery.