He pursued inspired accidents of the brush, of which some worked and could stay, while others did not and had to be scraped out. I like the grotesque. “Flesh is the reason oil paint was invented,” de Kooning once remarked, and although he painted many abstractions he continually returned to the figure. The truly luscious painted passages in the arms and shoulders are made by an artist who claimed that the glory of Western art lies in its physicality, and that ‘flesh was the reason oil paint was invented’.Text © National Gallery of Australia, Canberra 2014 With this group of four paintings near completion, de Kooning began painting When the six paintings on the theme of woman were exhibited together for the first time at the Sidney Janis Gallery in March 1953 they caused consternation among many artists and critics who felt that de Kooning had betrayed the ideals of abstraction. Woman I took him an unusually long time to complete: he made numerous preliminary studies, then repainted the canvas repeatedly, eventually arriving at this figure of a woman, the first of a series. Woman I is the first in the group of Woman paintings that de Kooning began in 1950. Expressionist, yes, but he kept painting the figure, even if here she is defined within her indeterminate surroundings mainly by charcoal sketching. The truly luscious painted passages in the arms and shoulders are made by an artist who claimed that the glory of western art lies in The works are influenced by sources ranging from Paleolithic fertility fetishes to American billboard advertisements, and the attributes of this particular figure seem to include both the vengeful power of the goddess and the hollow seductiveness of the calendar pinup. its physicality, and that ‘flesh was the reason oil paint was invented’.Text © National Gallery of Australia, Canberra 2010 This painting’s impact comes from the apparent conflict between the violence of the brush marks and the subject of woman, between the slashing strokes and her big smile.

De Kooning made numerous preliminary studies then repainted the canvas repeatedly, eventually arriving at this hulking, wild-eyed figure of a woman. It took him many months; he worked on the six canvases in the De Kooning is proof that not all members of the New York School were Abstract Expressionists. It’s more joyous.”In the early 1950s, artists and critics championing abstraction had declared the human figure obsolete in painting. Willem de Kooning’s first paintings of female figures were made in 1940, some of them inspired by Elaine Fried, who he would later marry.Various influences for this series have been suggested, both by the artist and several critics, from the Mesopotamian figurines on display at New York’s Metropolitan Museum of Art, to the grinning mouths of ‘pin-up’ girls, images of which de Kooning often cut from magazines and attached to his work.Text © National Gallery of Australia 2018 Sidney Tillim, 'The figure and the figurative in Abstract Expressionism', Franz Schulze, 'Reflections on de Kooning', George Dickerson, 'The man who painted "Woman V" ', Elwyn Lynn, 'The 1976 Adelaide Festival and two spectacular women', Thomas B Hess, 'Four pictures by de Kooning at Canberra', Patrick McCaughy, ‘The modern period and the Australian National Gallery’, James Mollison and Laura Murray eds, Paul Cummings, Jörn Merkert and Claire Stoullig, Michael Lloyd and Michael Desmond, Donald Williams and Barbara Vance Wilson, David Lee, ‘American Art: The Good, the Bad and Julian Schnabel’, Christos M. Joachimides and Norman Rosenthal eds, David Sylvester and Richard Shiff, Lina Tesoriero and Barbara Brinton, Michael Desmond, ‘Willem de Kooning 1904–1997: An appreciation’ Lucina Ward, ‘A dame, some clams and the broad: Willem de Kooning at the NGA’, Cornelia Butler and Paul Schimmel, Anthony White, ‘Art metropolis: A new display of international art’ in Brian Kennedy, ‘The art of Sean Scully: a human spirituality’, Text © National Gallery of Australia, CanberraThis painting’s impact comes from the apparent conflict between the violence of the brush marks and the subject of woman, between the slashing strokes and her big smile.

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