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拍品專文
With his characteristic fervor, Willem de Kooning turns the image in Girl on Magazine Cover from lascivious voyeurism to one which supremely demonstrates the energy and fluidity of his brushwork. He does not wish to ease spectatorship with melodic brushstrokes and obvious narration; rather, he challenges the perceptions of art historical tradition by incorporating abstraction and representation in an aggressive and irritated manner. His large brushstrokes do not blend, but stand side-by-side allowing the viewer to glance into his practice and in a way, his own artistic temperament.
Traces of a woman's body are apparent with a slight reference to a looming background as represented by the dark yellows behind the woman's head. The woman herself is made up of cosmetic pink flesh tones painted on the surface of the paper with strategically placed flashes of red adding a frisson of sexual enticement. The paint is applied in a loose and vigorous manner, but that does not negate the sensuous elements of the work that has ties to the classical tradition. This element is what causes de Kooning's work to stand apart from that of his contemporaries. He at once subverts and embraces art historical tradition.
"Whatever I see becomes my shapes and my condition," de Kooning said, reflecting on how his gestural painterly responses translated his perception into almost visceral expressions and rhythms on a human scale (W. de Kooning, quoted in D. Waldman, Willem de Kooning, New York, 1988, p.1). It is for this reason that de Kooning can never be considered a purely abstract painter: the forms and shapes of his paintings-- manifestations of the motion of his own body-- always articulate hints or glimpses of the physical structure and material core of the natural world.
Traces of a woman's body are apparent with a slight reference to a looming background as represented by the dark yellows behind the woman's head. The woman herself is made up of cosmetic pink flesh tones painted on the surface of the paper with strategically placed flashes of red adding a frisson of sexual enticement. The paint is applied in a loose and vigorous manner, but that does not negate the sensuous elements of the work that has ties to the classical tradition. This element is what causes de Kooning's work to stand apart from that of his contemporaries. He at once subverts and embraces art historical tradition.
"Whatever I see becomes my shapes and my condition," de Kooning said, reflecting on how his gestural painterly responses translated his perception into almost visceral expressions and rhythms on a human scale (W. de Kooning, quoted in D. Waldman, Willem de Kooning, New York, 1988, p.1). It is for this reason that de Kooning can never be considered a purely abstract painter: the forms and shapes of his paintings-- manifestations of the motion of his own body-- always articulate hints or glimpses of the physical structure and material core of the natural world.