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»STONED AGIN« »Better than de Kooning«, this title quoted for a group exhibition sounds like a terrible genre joke, because »nobody can paint better than de Kooning«, so it is an ideal title for a group show exhibition. Peter Saul paints during the mid-1970s a series of pictures of women that parodies the »Woman«-pictures (1950-53) of Willem de Kooning. He meticulously imitates the brush strokes and the impasto in a stylistic mix of Pointillism and Graffiti Art, turns up the colour regulator, and allows the abstract-expressionist painting and the women themselves to blend in a »Daliesque« manner, like soft ice cream (see the text »Un Autre Monde« by Marcus Weber and »Ice Creams, Atom Bomb, I-Screens, Data Bomb« by Esther Leslie in this book). In 2008, Saul paints another version of this cartoon-like, neon avatar and calls his painting »Better than de Kooning« ...a relief of US reality. Artists: Tim Berresheim, Jana Euler, Maria Lassnig, Lee Lozano, Michel Majerus, Dieter Krieg, Katrin Plavcak, Jon Rafman, Gunter Reski, Peter Saul, Matthias Schaufler, Jim Shaw, Amy Sillman, Sue Williams Exhibition: Villa Merkel Galerien der Stadt Esslingen: 12/9-15/11/2015
Winner of the Pulitizer Prize and National Book Critics Award Circle Award. An authoritative and brilliant exploration of the art, life, and world of an American master. Willem de Kooning is one of the most important artists of the twentieth century, a true “painter’s painter” whose protean work continues to inspire many artists. In the thirties and forties, along with Arshile Gorky and Jackson Pollock, he became a key figure in the revolutionary American movement of abstract expressionism. Of all the painters in that group, he worked the longest and was the most prolific, creating powerful, startling images well into the 1980s. The first major biography of de Kooning captures both the life and work of this complex, romantic figure in American culture. Ten years in the making, and based on previously unseen letters and documents as well as on hundreds of interviews, this is a fresh, richly detailed, and masterful portrait. The young de Kooning overcame an unstable, impoverished, and often violent early family life to enter the Academie in Rotterdam, where he learned both classic art and guild techniques. Arriving in New York as a stowaway from Holland in 1926, he underwent a long struggle to become a painter and an American, developing a passionate friendship with his fellow immigrant Arshile Gorky, who was both a mentor and an inspiration. During the Depression, de Kooning emerged as a central figure in the bohemian world of downtown New York, surviving by doing commercial work and painting murals for the WPA. His first show at the Egan Gallery in 1948 was a revelation. Soon, the critics Harold Rosenberg and Thomas Hess were championing his work, and de Kooning took his place as the charismatic leader of the New York school—just as American art began to dominate the international scene. Dashingly handsome and treated like a movie star on the streets of downtown New York, de Kooning had a tumultuous marriage to Elaine de Kooning, herself a fascinating character of the period. At the height of his fame, he spent his days painting powerful abstractions and intense, disturbing pictures of the female figure—and his nights living on the edge, drinking, womanizing, and talking at the Cedar bar with such friends as Franz Kline and Frank O’Hara. By the 1960s, exhausted by the feverish art world, he retreated to the Springs on Long Island, where he painted an extraordinary series of lush pastorals. In the 1980s, as he slowly declined into what was almost certainly Alzheimer’s, he created a vast body of haunting and ethereal late work.
A wildly entertaining and surprisingly educational dive into art history as you've never seen it before, from the host of the beloved ArtCurious podcast We're all familiar with the works of Claude Monet, thanks in no small part to the ubiquitous reproductions of his water lilies on umbrellas, handbags, scarves, and dorm-room posters. But did you also know that Monet and his cohort were trailblazing rebels whose works were originally deemed unbelievably ugly and vulgar? And while you probably know the tale of Vincent van Gogh's suicide, you may not be aware that there's pretty compelling evidence that the artist didn't die by his own hand but was accidentally killed--or even murdered. Or how about the fact that one of Andy Warhol's most enduring legacies involves Caroline Kennedy's moldy birthday cake and a collection of toenail clippings? ArtCurious is a colorful look at the world of art history, revealing some of the strangest, funniest, and most fascinating stories behind the world's great artists and masterpieces. Through these and other incredible, weird, and wonderful tales, ArtCurious presents an engaging look at why art history is, and continues to be, a riveting and relevant world to explore.
This publication offers an unparalleled opportunity to appreciate the development of the artist's work as it unfolded over nearly seven decades, beginning with his early academic works, made in Holland before he moved to the United States in 1926, and concluding with his final, sparely abstract paintings of the late 1980s.
This image-rich essay offers a radical rethinking of the ab-ex painter Willem de Kooning by one of the greatest American art critics. Many have written about de Kooning s startling canvases of monstrous women, but none have approached them this way. In prose as energetic as her subject, Rosalind Krauss demonstrates how de Kooning could never stop reworking the same subject. Deploying one telling image after another, she shows that, from the early days of his career, de Kooning nearly always (1) worked with a tripartite vertical structure, (2) projected his own figure and point of view as the (male) artist into the painting, and (3) was compelled to produce the female figure, legs splayed obscenely or knees projected into the viewer s space in practically everything he made. Hidden in plain sight even in paintings of highways, boats, and landscapes, Woman is always there. How could we have missed this?"
This in-depth study of the paintings of Willem de Kooning (1904-1997) from the 1940s through the 1970s breaks new ground in its analysis of the artist's working methods and yields new information about previously unreported materials. De Kooning's idiosyncratic working methods have long engendered intense speculation and debate among conservators and art historians, primarily on the basis of visual inspection and anecdotal accounts rather than rigorous technical analysis. This is the first systematic study of de Kooning's creative process to use comprehensive scientific examinations of the artist's pigments, binders, and supports to inform art historical interpretations, thereby presenting a key to the complicated evolution of the artist's work. Written for conservation scientists, conservators, specialists in modern art history, museum curators, and practicing artists, this book offers insights into the way an artist can achieve radical changes in style. The technical discussions will have practical applications for conservators, curators, collections managers, and collectors who care for twentieth-century art.
One girl, one painting a day...can she do it? Linda Patricia Cleary decided to challenge herself with a year long project starting on January 1, 2014. Choose an artist a day and create a piece in tribute to them. It was a fun, challenging, stressful and psychological experience. She learned about technique, art history, different materials and embracing failure. Here are all 365 pieces. Enjoy!
In the early 1960s, and established his art within the pastoral tradition of painting, as well as within the social context of America in the 1960s. She views his art of these years as analogous to the approaches to art taken by many of the Old Master painters, who achieved "old-age" styles late in life. A pioneering essay on the technical qualities of de Kooning's work, reporting on results of infrared examination and other conservation analyses, by Zilczer and Susan.
In the following pages I have endeavored to show the impact on philosophy of tech nology and science; more specifically, I have tried to make up for the neglect by the classical philosophers of the historic role of technology and also to suggest what positive effects on philosophy the ahnost daily advances in the physical sciences might have. Above all, I wanted to remind the ontologist of his debt to the artificer: tech nology with its recent gigantic achievements has introduced a new ingredient into the world, and so is sure to influence our knowledge of what there is. This book, then, could as well have been called 'Ethnotechnology: An Explanation of Human Behavior by Means of Material Culture', but the picture is a complex one, and there are many more special problems that need to be prominently featured in the discussion. Human culture never goes forward on all fronts at the same time. In our era it is unquestionably not only technology but also the sciences which are making the most rapid progress. Philosophy has not been very successful at keeping up with them. As a consequence there is an 'enormous gulf between scientists and philosophers today, a gulf which is as large as it has ever been. ' (1) I can see that with science moving so rapidly, its current lessons for philosophy might well be outmoded tomorrow.
Collects nine essays that discusses the creativity of influential artists, as well as the legacy of their work following their deaths, and covers Wolfgang Amadeus Mozart, Piet Mondrian, Frank Gehry, and others.