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Beside my own intense, multiple impressions of him, I also had to contend with his 'world image' created by the endless newspaper photographs, TV app… - Elaine de Kooning
" "Beside my own intense, multiple impressions of him, I also had to contend with his 'world image' created by the endless newspaper photographs, TV appearances, caricatures. Realizing this, I began to collect hundreds of photographs torn from newspapers and magazines and never missed an opportunity to draw him when he appeared on TV. These snapshots covered every angle, from above, below, profile, back, standing, sitting, walking, close-up, off in the distance. I particularly liked tiny shots where the features were indistinct yet unmistakable. Covering my walls with my own sketches and these photographs, I worked from canvas to canvas (the smallest 2 feet high, the largest, 11) always striving for a composite image.
English
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About Elaine de Kooning
Elaine de Kooning (March 12, 1918 - February 1, 1989) was an Abstract Expressionist and American Figurative Expressionist woman-painter in the post-World War II era. She wrote extensively on the art of the period and was an editorial associate for Art News magazine. On December 9, 1943, she married painter Willem de Kooning.
Also Known As
Native Name:
Elaine Marie de Kooning
Alternative Names:
Elaine Marie Catherine de Kooning
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Elaine Maria Catherine Fried
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Elaine Maria Catherine De Kooning
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Elaine Fried
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Elaine De Kooning
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Elaine Marie Catherine De Kooning
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Elaine Fried De Kooning
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Elaine DeKooning
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elaine de kooning
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Elaine Marie Catherine Fried de Kooning
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Elaine Marie Fried
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Additional quotes by Elaine de Kooning
One of the reasons I was asked to do the portrait [of president J. F. Kennedy, winter of 1962–63, destined for the Truman Library, Independence, Mo] is that, with luck, I can start and finish a life-size portrait in one sitting (after a couple of preliminary sessions of sketches to determine the pose and familiarize myself with my impression of the sitter). After years of working on my portraits (mostly of friends) for months at a time, I found myself getting bogged down in overly conscientious effort and discovered that by working swiftly I could enter into an almost passive relationship to the canvas and get closer to the essential gesture of the sitter. However, working at top speed this way, I require the absolute immobility of the sitter. This was impossible with President Kennedy because of his extreme restlessness: he read papers, talked on the phone, jotted down notes, crossed and uncrossed his legs, shifted from one arm of the chair to another, always in action at rest. So I had to find a new approach.
In shows selected by artists where there is no consciousness of sex, as in the American Abstract Artist Shows which began in the late 1930's or the Artists Annuals of the early 1950's, the ratio [between male and female artists presented there] seemed to be between one third and one quarter women. The only way to arrive at a true ratio, I suppose, would again be to have artist-juried shows.
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I think there are too damn many institutions on the face of the earth as it is. Robert Graves said: 'As soon as women organize themselves in the male way with societies, memberships and rules, everything goes wrong.' I think that applies to artists, too. The artist stands for everything against institutions.. [Rosalyn Drexler reacted: 'Institutions and clear thought are opposites. You can't have one with the other']. Right! Institution to me means authority, coercion, mindlessness, bureaucracy; it means the Pentagon, the CIA, the army, organized denominational religion, prisons, mental hospitals.
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