Details

Provenance

Sidney Janis Gallery, New York Acquired from the above in April 1952 by the present owner

Exhibited

New York, Wildenstein Gallery, XXth Century American Paintings , 1952, no. 39 Boston, School of the Museum of Fine Arts, De Kooning: 1935-1953 , 1953, no. 12 Ithaca, Andrew Dickson White Museum of Art, Contemporary Painting and Sculpture from the Collection of Mr. and Mrs. David M. Solinger , 1956, no. 11 New York, Museum of Modern Art; Amsterdam, Stedelijk Museum; London, Tate Gallery; Chicago, Art Institute of Chicago; Los Angeles County Museum of Art, Willem de Kooning , 1968-69, no. 41, p. 162; p. 69, illustrated Pittsburgh, Carnegie Institute Museum of Art, Pittsburgh International Series: Willem de Kooning , 1979-80, no. 19, p. 50, illustrated New York, The Metropolitan Museum of Art, Willem de Kooning: Paintings , 1994-95 Ithaca, Cornell University, Herbert F. Johnson Museum of Art , The David M. Solinger Collection: Masterworks of Twentieth Century Art , 2002-03, pp. 34-35, illustrated New York, Museum of Modern Art, de Kooning: a Retrospective , 2011-12, no. 68, pp. 211-212, illustrated in color London, Royal Academy of Arts; Guggenheim Museum Bilbao, Abstract Expressionism , 2016-17, no. 143, p. 44; p. 291, illustrated in color (London), no. 113, p. 253, illustrated in color (Bilbao)

Literature

Thomas B. Hess, Abstract Painting:  Background and American Phase , New York, 1951, p. 159; p. 7, illustrated in color Harriet Janis and Rudi Blesh, Collage: Personalities, Concepts, and Techniques, Toronto, 1967, no. 315, p. 222, illustrated Gabriella Drudi, Willem de Kooning , Milan, 1972, no. 67, p. 34; p. 67, illustrated in color Willem de Kooning and Harold Rosenberg, Willem de Kooning , New York, 1974, no. 85, p. 8; p. 150, illustrated in color John Russell, “Two Artists Share the Carnegie International,” The New York Times , 18 November 1979, p. 40 William C. Seitz, Abstract Expressionist Painting in America , Washington, D.C., 1983, no. 31, pp. 20, 34, 47, 147 p. 77; n.p., illustrated in color Sally Yard, Willem de Kooning, the First Twenty-six Years in New York , Ph.D. Dissertation, Princeton University, 1986, no. 223, p. 171; p. 172, illustrated Florian Rodari, Collage: Painted, Cut & Torn Papers , Geneva, 1988, p. 134; p. 133, illustrated in color Charles Brock, Describing Chaos: Willem de Kooning’s Collage Painting Asheville and its Relationship to Traditions of Description and Illusionism in Western Art , Masters of Arts thesis, University of Maryland, College Park, 1993, no. 21, pp. v, 31, 34-36; p. 99, illustrated Sally Yard, Willem de Kooning , New York, 1997, no. 37, p. 50; p. 51, illustrated in color T.J. Clark, “In Defense of Abstract Expressionism,” in Rosalind Krauss, ed., October: The Second Decade, 1986-1996 , Cambridge, 1997, p. 55, illustrated David Anfam, “De Kooning, Bosch, and Bruegel: Some Fundamental Themes,” The Burlington Magazine , vol. 145, no. 1207, London, 2003, p. 711 Sally Yard, Willem de Kooning, Works, Writings and Interviews , Barcelona, 2007, p. 47; p. 55, illustrated in color Daniel Louis Haxall, Cut and Paste Abstraction: Politics, Form, and Identity in Abstract Expressionist Collage , Ph.D. dissertation, The Pennsylvania State University, 2009, pp. 47-48 Valerie Hellstein, “Process and Memory in Women Singing II, ” Tate Research Publication , online, 2017, illustrated in color Simonetta Fraquelli, Soutine / de Kooning: Conversations in Paint, Philadelphia, 2021, p. 89, illustrated in color

Catalog summary

Willem De Kooning 1904 - 1997 Collage signed de Kooning (upper right) oil and lacquer with thumbtacks on paper 22 by 30 in. 55.9 by 76.2 cm. Executed in 1950. --------------------------------------------------- 威廉・德庫寧 1904 - 1997年 《拼貼》 款識︰藝術家簽名 de Kooning（右上） 油彩、漆及圖釘紙本 22 x 30 英寸；55.9 x 76.2 公分 1950年作 Provenance Sidney Janis Gallery, New York Acquired from the above in April 1952 by the present owner Literature Thomas B. Hess, Abstract Painting:  Background and American Phase , New York, 1951, p. 159; p. 7, illustrated in color Harriet Janis and Rudi Blesh, Collage: Personalities, Concepts, and Techniques, Toronto, 1967, no. 315, p. 222, illustrated Gabriella Drudi, Willem de Kooning , Milan, 1972, no. 67, p. 34; p. 67, illustrated in color Willem de Kooning and Harold Rosenberg, Willem de Kooning , New York, 1974, no. 85, p. 8; p. 150, illustrated in color John Russell, “Two Artists Share the Carnegie International,” The New York Times , 18 November 1979, p. 40 William C. Seitz, Abstract Expressionist Painting in America , Washington, D.C., 1983, no. 31, pp. 20, 34, 47, 147 p. 77; n.p., illustrated in color Sally Yard, Willem de Kooning, the First Twenty-six Years in New York , Ph.D. Dissertation, Princeton University, 1986, no. 223, p. 171; p. 172, illustrated Florian Rodari, Collage: Painted, Cut & Torn Papers , Geneva, 1988, p. 134; p. 133, illustrated in color Charles Brock, Describing Chaos: Willem de Kooning’s Collage Painting Asheville and its Relationship to Traditions of Description and Illusionism in Western Art , Masters of Arts thesis, University of Maryland, College Park, 1993, no. 21, pp. v, 31, 34-36; p. 99, illustrated Sally Yard, Willem de Kooning , New York, 1997, no. 37, p. 50; p. 51, illustrated in color T.J. Clark, “In Defense of Abstract Expressionism,” in Rosalind Krauss, ed., October: The Second Decade, 1986-1996 , Cambridge, 1997, p. 55, illustrated David Anfam, “De Kooning, Bosch, and Bruegel: Some Fundamental Themes,” The Burlington Magazine , vol. 145, no. 1207, London, 2003, p. 711 Sally Yard, Willem de Kooning, Works, Writings and Interviews , Barcelona, 2007, p. 47; p. 55, illustrated in color Daniel Louis Haxall, Cut and Paste Abstraction: Politics, Form, and Identity in Abstract Expressionist Collage , Ph.D. dissertation, The Pennsylvania State University, 2009, pp. 47-48 Valerie Hellstein, “Process and Memory in Women Singing II, ” Tate Research Publication , online, 2017, illustrated in color Simonetta Fraquelli, Soutine / de Kooning: Conversations in Paint, Philadelphia, 2021, p. 89, illustrated in color Exhibited New York, Wildenstein Gallery, XXth Century American Paintings , 1952, no. 39 Boston, School of the Museum of Fine Arts, De Kooning: 1935-1953 , 1953, no. 12 Ithaca, Andrew Dickson White Museum of Art, Contemporary Painting and Sculpture from the Collection of Mr. and Mrs. David M. Solinger , 1956, no. 11 New York, Museum of Modern Art; Amsterdam, Stedelijk Museum; London, Tate Gallery; Chicago, Art Institute of Chicago; Los Angeles County Museum of Art, Willem de Kooning , 1968-69, no. 41, p. 162; p. 69, illustrated Pittsburgh, Carnegie Institute Museum of Art, Pittsburgh International Series: Willem de Kooning , 1979-80, no. 19, p. 50, illustrated New York, The Metropolitan Museum of Art, Willem de Kooning: Paintings , 1994-95 Ithaca, Cornell University, Herbert F. Johnson Museum of Art , The David M. Solinger Collection: Masterworks of Twentieth Century Art , 2002-03, pp. 34-35, illustrated New York, Museum of Modern Art, de Kooning: a Retrospective , 2011-12, no. 68, pp. 211-212, illustrated in color London, Royal Academy of Arts; Guggenheim Museum Bilbao, Abstract Expressionism , 2016-17, no. 143, p. 44; p. 291, illustrated in color (London), no. 113, p. 253, illustrated in color (Bilbao)