wilhelm de kooning

Wilhelm de Kooning was perhaps the best known and most influential figure of the original group of artists who initiated the Abstract Expressionism movement. De Kooning’s early paintings, from the 1930s, exhibited a variety of influences, including Cubism, Surrealism’s biomorphic form and the work of his friend and colleague, Arshile Gorky. By the 1940s de Kooning’s work had diverged simultaneously in two different directions, embracing figure studies and high-key colour abstractions. His most significant achievement was the synthesis of figuration and abstraction, combined with aggressive brushstroke that gave his paintings a rich surface texture and vibrant energy.

Between 1950 and 1953, de Kooning painted a series of six canvases, of which ‘Women IV’ is a part, depicting a single female subject. ‘Women IV’ is typical of this series in its extreme fragmentation of form, exaggeration of proportion, shallow pictorial space and high-key colour scheme.

The painting depicts a deformed and disturbing female figure who appears to be lifti

The female in this painting, is represented by harsh brush strokes and unsightly shapes and figures. This may be a symbolism of De Kooning’s opinion and belief of women. By representing the female as an oversized, disfigured and unattractive form, De Kooning may be exerting a feeling of disgust towards women; as though they are a separate ‘race’ from him, or ‘inferior’ to the male species.

The pink shapes representing the arms of the women appear uneven and irregular. This may be purposely done to symbolise that such women are ‘unbalanced’ or misshapen. On the other hand, De Kooning may have decided to paint the arms of the woman in this way to represent individuality, as no two bodily features are exactly the same.

During the time of De Kooning’s Abstract Expressionist period, he was living in America. This means he was subjected to the advertising and propaganda of the 1950s. As a result De Kooning would be exposed to pictures of women with curvaceous figures, large breasts and tiny waists. This may be a reason why the picture of the woman is so distorted and ugly. De Kooning may be painting out of fear at the sight

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