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Essay / Research Paper Abstract
In four pages this paper contrasts and compares these paintings by Dutch born American artist Willem de Kooning with style, color, brushstroke usage, and emotions evoked from each work among the points of comparison. Bibliography lists three sources.
Page Count:
4 pages (~225 words per page)
File: TG15_TGkooning.rtf
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Unformatted sample text from the term paper:
Painters began to question the competing socialist, nationalist, and utopian ideologies as well as the styles of "social realism, regionalism, and geometric abstraction" they inspired (Sandler 1). European Abstract
Expressionists including Georges Braque, Pablo Picasso, and Joan Miro expressed disdain for the world around them through artistic insights they hoped would generate new perspectives of how the world was
viewed and how the human condition was conceptualized. This exciting period of innovation gave Willem de Kooning (1904-1997) an expansive canvas upon which to create, paint, define, and redefine.
His lifes journey took him from Rotterdam, the Netherlands to Long Island, New York. Already a painter of considerable note by his early teens, de Kooning was classically
trained in realism and still lifes (Ratcliff 100). However, his fascination with Jean Auguste Dominique Ingres nineteenth-century neoclassicism and contemporary abstract painters bold portrayal of the human form led
him down a different path. The style, use of color, brushstrokes, and emotions featured in two of de Koonings most famous paintings - Seated Woman (1940) and Woman I
(1952) - reveal consistencies that characterize the artists work, but they also reflect changes in his life and in the approaches to his art. The "master style" that is featured
in both paintings is invariably Cubism, despite de Koonings protestations, "I never made a Cubistic painting" (Ratcliff 104). During the late 1930s, he began experimenting with the human form
and how it existed in space (Sandler 122). He explored the realism first of the male form and then transferred his central focus to the female, progressively streamlining his
bulky images with more flattened forms (Sandler 123). The gesture painting de Kooning gravitated toward is evident in his first important painting, Seated Woman, and suggests the violence and
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