[ePub] The Historiography of Persian Architecture (Iranian Studies) by From Routledge at Arts-Photography

Description

In the early 1950s; Willem de Kooningrsquo;s Woman I and subsequent paintings established him as a leading member of the abstract expressionist movement. His wildly impacted brushstrokes and heavily encrusted surfaces baffled most critics; who saw de Kooningrsquo;s monstrous female image as violent; aggressive; and ultimately the product of a misogynistic mind. In the image-rich Willem de Kooning Nonstop; Rosalind E. Krauss counters this view with a radical rethinking of de Kooningrsquo;s bold canvases and reveals his true artistic practices.Krauss demonstrates that contrary to popular conceptions of de Kooning as an artist who painted chaotically only to finish abruptly; he was in fact constantly reworking the same subject based on a compositional template. This template informed all of his art and included a three-part vertical structure; the projection of his male point of view into the painting or sculpture; and the near-universal inclusion of the female form; which was paired with her redoubled projection onto his work. Krauss identifies these elements throughout de Kooningrsquo;s oeuvre; even in his paintings of highways; boats; and landscapes: Woman is always there. A thought-provoking study by one of Americarsquo;s greatest art critics; Willem de Kooning Nonstop revolutionizes our understanding of de Kooning and shows us what has always been hiding in plain sight in his work.