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  About the Artist

Willem De Kooning

*Additional works by Willem De Kooning are available on a private basis. Contact gallery Director Ian Marcus Corbin for more information: or 978.807.8651″

Abstract expressionist Willem de Kooning (Dutch-American, 1904-1997) was born in Rotterdam, Netherlands and moved to New York in 1927. He was part of a group of artists that came to be known as the New York School. Undoubtedly most famous for his paintings, de Kooning also produced a dynamic body of three-dimensional work. His sculptures are akin to sketches in clay, channeling the artist’s unique energy and perspective into three-dimensional form.

“Leda and the Swan: Sitting, Standing and Reclining” (Suite of 3 works)

Studio Of Willem de Kooning: Molded by de Kooning in clay (including verified  fingerprints on finished product) cast in bronze by P. Pavia

Description: Bronze with gold patina, artist’s proof two from editions of nine plus three artist’s proofs.

Sitting: incised ‘AP 2/3 WdeK’ (on the base), 5 3/4in. (14.5cm) high; Standing: incised ‘AP 2/3’ (on the base) and ‘WdeK’ (on the wing), 5in. (12.5cm) high; Reclining: incised ‘AP 2/3II’ (on the base) and ‘WdeK’ (on the wing), 3 3/4in. (9.5cm) high




[…] ”What has the third dimension done for de Kooning?” […]

“The sculptures have a curious history. It was not until he was 65 years old, happened to be staying in Rome and was under pressure by someone who had bought a small foundry that de Kooning began to make sculptures. Quite possibly he would never have begun at all had this combination of circumstances not come about in 1969.

Certainly there is in those first little pieces an element almost of exasperation, as if sculpture were something that had to be tried but should be got over with as soon as possible. But there is also much of that delight in the antic element in human behavior that comes out so strongly in many of de Kooning’s paintings and drawings. When, for instance, he modeled a human figure lying down it looked like two banana skins that were still on the stalk and yet was perfectly recognizable as a particular kind of person.

Other tiny pieces made at that time turned out to incorporate the sexy crouch, the feet splayed in an unnamed dance and the frenetic oddities of posture that had long been the mark of de Kooning. He himself was in no great hurry to have them cast, but when they came back from the foundry they turned out to have a highly energized life of their own.”

From The New York Times, May 20, 1983 Read the complete article here.

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