Willem de Kooning (1904-1997)
Willem de Kooning (1904-1997)


Willem de Kooning (1904-1997)
signed 'De Kooning' (lower right)
charcoal and pastel on paper mounted on paper
23 1/8 x 34 3/4 in. (58.7 x 88.2 cm.)
Executed in 1956-58.
Xavier Fourcade, Inc., New York, acquired directly from the artist
Private collection, New York
Pace Gallery, New York
C & M Arts, New York
Acquired from the above by the present owner, 1994.
T. B. Hess, Willem de Kooning: Drawings, Greenwich, 1972, p. 197, no. 81 (illustrated in color).
J. Elderfield, De Kooning: A Retrospective, 2011, New York, Museum of Modern Art, exh. cat, p. 288, fig. 9 (illustrated in color).
Minneapolis, Walker Art Center; Ottawa, National Gallery of Canada; Washington, D.C., The Phillips Collection; Buffalo, Albright-Knox Gallery; Houston, Museum of Fine Arts and St. Louis, Washington University Art Gallery, De Kooning - Drawing/Sculptures, March 1974-June 1975, no. 87, fig. 26 (illustrated in color).
New York, Solomon R. Guggenheim Museum; Baden-Baden, Staatliche Kunsthalle and Bremen, Kunsthalle, 20th Century Drawing: Three Avant Garde Generations, January-August 1976, n.p., no. 93 (Baden-Baden).
New York, Xavier Fourcade, Inc., Works on Paper, Small Format, Objects - Duchamp to Heizer, February-March 1977.
Boston, Harkus Krakow, Abstract Expressionism, May-June 1979.
Pittsburgh, Museum of Art, Carnegie Institute, Pittsburgh International Series, Willem de Kooning, October 1979-January 1980, p. 119, no. 90 (illustrated).
Houston, Janis C. Lee Gallery, De Kooning Drawings, March-April 1981.
Baltimore, C. Grimaldis Gallery, De Kooning: Paintings and Drawings, February 1982.
New York, Whitney Museum of American Art; Berlin, Akademie der Kunste and Paris, Centre Georges Pompidou, Musée national d'art moderne, December 1983-September 1984, p. 72. no. 70 (illustrated in color) and p. 110 (illustrated in color in the Paris exhibition catalogue).

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Jennifer Yum
Jennifer Yum

Lot Essay

De Kooning created a series of compact, rectangular compositions between the years 1956-1958. These small works were often made during the summers, when he would travel from New York City to The Springs, Long Island, and used smaller, temporary working quarters. The scale alone posed a new challenge for the artist, even though the practice of layering collage elements to create a composition was a favorite technique of his. Although de Kooning considered these compositions to be finished works within themselves, some of them he kept for himself and reviewed on occasion to influence later works. By 1955, following a series of fifteen large and small canvases, the image of Woman began to disappear from de Kooning's work. Abstract gestures and shapes take over, and the urban and suburban landscape period begins. Nonetheless, as de Kooning told Thomas B. Hess in 1953 "The landscape is in the Woman, and there is Woman in the landscapes" (Willem de Kooning, exh. cat., the Museum of Modern Art, New York, 1968, p. 100).

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