WILLEM DE KOONING RESİMLERİNDEKİ KADIN FİGÜRLERİNİN ESTETİK VE SOSYOLOJİK ÇÖZÜMLEMELERİ

Whether on oddly-shaped pillows, shrieking dolls, or basic coffee mugs, the emaciated protagonist with a gaping mouth and the swirling landscape of Edvard Munch's The Scream is one of today's most widespread images. Though Munch died just as abstract expressionism was being born, his emphasis on the highly personal and the unconscious through abstraction, brushwork, and intensely evocative colors link him closely to this important American art movement. Through the specific comparison of the oeuvre of Munch and the abstract expressionist Willem de Kooning, this essay will examine how and why the Norwegian painter became known as the "father of expressionism" in the history of art. The Scream is not central to this discussion, but instead will be looked at in conjunction with other early paintings and prints, such as The Sick Child and The Kiss. These works and others reveal Munch's artistics philosophy and technique and allow us to draw broader connections to future movements, neo-dadaism and expressionism among them.

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Willem de Kooning

The Hydrogen Jukebox ◽

10.1525/9780520913844-026 ◽

1991 ◽

pp. 131-134

Keyword(s):

Willem De Kooning

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Vicente Aguilera Cerni, “Willem de Kooning,” translated from Spanish by Cleo Clauson, originally published “William de Kooning,” in Problemas del arte contemporaneo single issue no. 1 (Madrid: 1959)

Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945–1990 ◽

10.4324/9781003009979-2017 ◽

2020 ◽

pp. 88-89

Author(s):

Claudia Hopkins ◽

Iain Boyd Whyte

Keyword(s):

Single Issue ◽

Willem De Kooning ◽

Arte Contemporáneo

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Black Mountain College

Routledge Encyclopedia of Modernism ◽

10.4324/9781135000356-rem156-1 ◽

2018 ◽

Author(s):

Jeffrey Saletnik

Keyword(s):

John Cage ◽

Black Mountain College ◽

Curricular Integration ◽

Ernst Krenek ◽

The Arts ◽

Merce Cunningham ◽

Willem De Kooning ◽

Clement Greenberg ◽

Buckminster Fuller ◽

Black Mountain

Between 1933 and 1957, Black Mountain College served as an unlikely crucible of modernism. Despite its isolated location near Asheville, North Carolina, at various times its permanent and summer faculty included the likes of Anni Albers, Josef Albers, Ilya Bolotowsky, Jean Charlot, Lyonel Feininger, Joseph Fiore, Buckminster Fuller, Walter Gropius, Karen Karnes, Franz Kline, Willem de Kooning, Jacob Lawrence, Robert Motherwell, Beaumont Newhall, Amédée Ozenfant, Xanati Schawinsky, Ben Shahn, and Jack Tworkov. These artists and architects were joined by composers John Cage, Lou Harrison, Ernst Krenek, David Tudor, and Stefan Wolpe; writers and poets Robert Creeley, Charles Olsen, and M.C. Richards; as well as critic Clement Greenberg, musicologist Heinrich Jalowetz, and choreographer Merce Cunningham. There are few evident commonalities among the practices of this mix of European émigrés and Americans, yet the educationally progressive ethos of the College appealed to each of them. Its founding program was predicated upon a belief that the arts were central to higher education and that the practice of democracy would benefit from their curricular integration. Participation was prioritized in all activities, particularly in learning.

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