His willingness to modify his painting in considered stages illustrates an element of deliberation that seems contrary to the apparent spontaneity implicit in the words “action painting.” Yet even Harold Rosenberg, who coined that phrase, acknowledged that de Kooning never used improvisational techniques exclusively: “Though they may start with a scribble or a sign, his forms are animated by conscious intuition…. The interrogative technological light of a single lightbulb is encased in the age-old imagery of the Mediterranean seeing eye of fate, or God, and, as I saw it, a semi-disembodied mythical grail maiden is holding a lamp of hope. Even the small ones. [49] This was why de Kooning worked slowly—“incredibly slowly,” Tomkins continues, “scraping out and starting over again time after time, searching for the essential combination of color and form that would have the rightness, the lastingness of a Tintoretto or an Ingres. [70] Yet it is the photograph Barber reproduces, and uses for her analysis. Its hefty 506-page catalogue did not dwell on the meanings of the Woman series, steering discussion into matters of style and technique.[3]. Willem de Kooning was puzzled at the ugliness of the Woman paintings. Inexpressibly angry, imbued with a depth Spanish culture, and also with terrible pathos. [2] Then there was the authoritative de Kooning retrospective in New York’s Museum of Modern Art in 2011, which included all the key works. [93] This ties in with Elaine de Kooning’s remark that the paintings are emphatically about a relationship, not just a figure. For feminists, Holocaust imagery referred to emotional oppression suffered by the poet, and supposedly exposed her husband as a manipulative abuser.
De Kooning both distanced himself most clearly from his fellow abstract painters and expressed this figurative interest most memorably in his Woman paintings, a series that began towards the end of the 1940s and continued into the following decade, upsetting both fans of his early canvases and those used to more genteel depictions of the female form. For example, the title of Pollock’s Lavender Mist “is suggestive of a gender ambiguity in the association of lavender with male homosexuality, while the delicate pastel surface of the painting itself is shot through with skeins of pink, a colour more closely associated with femininity, especially in the polarised gender roles of the post-war period”. And instead of completing the work-in-progress seen in the studio shots, Willem de Kooning just gave up on it and wiped the canvas clean. Taking the lead from popular psychology, especially Freudian-inspired dream interpretation, at that time some aspiring feminist critics analysed creative work much as they would dreams. cit., p.166. Indeed, “de Kooning only resumed work on the painting now known as Woman I after art historian Meyer Schapiro, in what critic Peter Schjeldahl has aptly termed ‘history’s luckiest studio visit’, offered words of encouragement about the abandoned canvas during a visit with the artist at his Fourth Avenue studio.” This painting, and others in its series, went on show in New York later that year.
And with claims of their sexual aggression, he found this flows from how viewers respond to works as “composed of muscled masculine strokes—angry strokes that reflect an inner turmoil. That goes against popular perceptions of Abstract Expressionists working in a wild rush; for any impression of creative haste is illusory. Those craftily posed images of Pollock dripping and pouring paint on canvases are still reproduced as art book illustrations.
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