Gift of Jan Christiaan Braun in honor of Rudi Fuchs
Posts by Willem de Kooning
Gift of Lee V. Eastman and John L. Eastman
Woman in Amagansett http://www.moma.org/collection/works/72436
Whose Name Was Writ in Water
Whose Name Was Writ in Water www.wikiart.org/en/willem-de-kooning/who...
Gift of Jan Christiaan Braun in honor of Rudi Fuchs
Gift of Jan Christiaan Braun in honor of Rudi Fuchs
Two trees on Mary Street . . . Amen!
Two trees on Mary Street . . . Amen! www.wikiart.org/en/willem-de-kooning/two...
date inscribed Purchased 1986
Landscape at Stanton Street www.tate.org.uk/art/artworks/kooning-lan...
One of the most important figures of Abstract Expressionism, De Kooning made prints only sporadically during his career. His most successful prints, including this masterful lithograph of 1971, are dynamic variants of action painting on stone.
Landscape at Stanton Street https://collections.artsmia.org/art/53740/
Sidney and Harriet Janis Collection Fund
Pirate (Untitled II) http://www.moma.org/collection/works/78810
Gift of the artist
Unused preparatory drawing for In Memory of My Feelings http://www.moma.org/collection/works/125397
Gift of Jan Christiaan Braun in honor of Rudi Fuchs
Gift of Jan Christiaan Braun in honor of Rudi Fuchs
Gift of The Museum of Modern Art Department of Publications
Plate (folio 59 verso) from In Memory of My Feelings http://www.moma.org/collection/works/11184
In 1969, during a vacation in Rome, Willem de Kooning was invited by the American sculptor Herzl Emanuel to his nearby bronze foundry. While there, de Kooning began working with clay and, over the course of the next couple of weeks, made a series of small-scale figures, one of which Emanuel cast in bronze. Encouraged by the sculptor Henry Moore, de Kooning continued creating works that he called “painting in three dimensions.” The heavy, exaggerated form of Head #3 recalls the contorted figures from de Kooning’s paintings. Reflecting on his sculptures, the artist stated: “In some ways, clay is even better than oil. You can work and work on a painting but you can’t start over again with the canvas like it was before you put the first stroke down. . . . But with clay . . . if I don’t like what I did, or I changed my mind, I can break it down and start over. It’s always fresh.” Restricted gift of Margaret Fisher
Gift of Jan Christiaan Braun in honor of Rudi Fuchs