Friday, December 11, 2009

Willem de Kooning' best forgery - Woman VII

After Willem de Kooning Woman III

In this study of Willem de Kooning, Woman series, I was concerned as the work itself seemed of de Kooning dressed in drag. But there was more, why was this woman so brutally painted as if she was intentionally slashed? Who is this woman? A floozy or de Kooning's mother?

By now God reached me, I am too feeble, age, loved her dearly , my pass, call it quits, beauty need never be known, street walker?

Dresden 1

So it come to pass, Schiller was furious, the lies, the rude interruptions, Germany burnt, art destroyed, lives lost... and for what, bitterness, condemnation. Drink, celebrate victory...

Dresden II

This rendition was a puzzle, it also broke many barriers, my lack of measuring proportions. But I recovered by dissecting the painting. Willem de Kooning's work left me clueless as it was a painting of
a whore, why value a work that treated woman so crudely? After, I ejaculated. " The power that is Art"

" I like the idea of an artist's car being one of his canvases..."

Why paint on a car? Isn't that the norm. if it was painted on a "
Bugatti Veyron", would it be art? Does this change because of that? Here are some examples from artists promoting a car by their art. Andy Warhol, Robert Rauschenberg, David hockney, Damien Hirst and of course, Feinin

I found very much difficulty over de Kooning, he was hiding, I could not see until I revealed that he liked woman's garments. Look at the high bust, see how the skirt hovers, his posture, his hands, the exaggeration. This is not a nude. All that's missing is a mirror in this self-portrait.

Here is the Moma's take, "De Kooning took an unusually long time to create Woman, I, making numerous preliminary studies and repainting the work repeatedly. The hulking, wild–eyed subject draws upon an amalgam of female archetypes, from Paleolithic fertility goddesses to contemporary pin–up girls. Her threatening stare and ferocious grin are heightened by de Kooning's aggressive brushwork and frantic paint application. Combining voluptuousness and menace, Woman, I reflects the age–old cultural ambivalence between reverence for and fear of the power of the feminine."

WAPnin, this is becoming a Art paper, you know you shall be honored .


Anonymous said...

I love the Coney Island aspect of this tongue in cheek interpretation of this work by DeKooning. Also the burning the piece afterwards.It is ironic yet threatening.

Anonymous said...

Even though I have managed to keep quiet for a while, I have been enjoying these posts.

This painting is interesting. I agree when you say that it seems to have been "brutally painted." It is easy to conclude that that brush had no intention of caressing the female form/presence. Even if he meant to convey a presence that is threatening, it is interesting that he chose this "in your face" stance for the woman. He could have portrayed a more disguised, subtle but equally powerful force.

Is the method - the abruptness of his approach to this painting, part of his statement? Is he saying that he won't be shy about revealing what women really are.

You asked, "Who is this women? A floozy or de Kooning's mother?"

Maybe he cannot tell the difference. Maybe he was concerned that there might be no difference between "the floozy" and "the mother", that is, maybe he is made uncomfortable in general by the mystery of the feminine force? OR maybe there is no ambivalence, no fear. Maybe he admires the feminine and thinks that he is affirming it by bypassing the acceptable depictions that often minimise the "real" woman under the burqa of societal expectations.

Now, is your car still a KooningMobile or have you already washed off the artwork? I like the idea of an artist's car being one of his canvases.


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