Reviews
If you are looking for something jaw-dropping, then look no further than this sprawling retrospective devoted to one of the most important figures in 20th century American painting., Elderfield (emer., MoMA) offers an introductory essay that analyzes early critical approaches to the artist and acquaints readers with the spatial complexities of de Kooning's paintings. Dwelling upon de Kooning's use of preparatory sketches and recycled pictorial elements, the author deflates the rhetoric of action painting that has oversimplified the artist's work. Subsequent essays by Elderfield, Mahony, and Jennifer Field offer erudite studies of everything from the WPA works and the "Woman" series to de Kooning's "full arm" "urban landscapes" and the torqued ribbons of his late canvases. This is a catalogue about biography, sources (many of them from pre-modern painting), process, form, and-particularly in the studies of major works by conservationists Jim Coddington and Susan F. Lake-materials the many reproductions are invaluable, and Delphine Huisinga's meticulous chronologies are a boon to researchers., The first retrospective since de Kooning's death in 1997, it will give us our first opportunity to experience the artist from start to almost-finish., Bring open eyes and an open mind, for if you cherish the ox of any aesthetic of ideological bias, de Kooning will gore it., Predictably awe-inspiring In its scale, crème-de-la-crème editing and processional sweep, it's MoMA in excelsis, and for many people it will probably represent this institution's history-writing at its best., The Museum of Modern Art's generous, even prodigal De Kooning retrospective is the most ambitious show New York has seen in a long time - a lavish, knotty and definitive tribute to a tricky and alloyed genius., "De Kooning: A Retrospective," at the Museum of Modern Art, is the most piercing, inexhaustible, and relentlessly intense full-on career survey I have ever seen in this country., Predictably awe-inspiring... In its scale, crème-de-la-crème editing and processional sweep, it's MoMA in excelsis, and for many people it will probably represent this institution's history-writing at its best., Predictably awe-inspiring... In its scale, cr_me-de-la-cr_me editing and processional sweep, it's MoMA in excelsis, and for many people it will probably represent this institution's history-writing at its best., Predictably awe-inspiring... In its scale, crme-de-la-crme editing and processional sweep, it's MoMA in excelsis, and for many people it will probably represent this institution's history-writing at its best., Elderfield (emer., MoMA) offers an introductory essay that analyzes early critical approaches to the artist and acquaints readers with the spatial complexities of de Kooning's paintings. Dwelling upon de Kooning's use of preparatory sketches and recycled pictorial elements, the author deflates the rhetoric of action painting that has oversimplified the artist's work. Subsequent essays by Elderfield, Mahony, and Jennifer Field offer erudite studies of everything from the WPA works and the "Woman" series to de Kooning's "full arm" "urban landscapes" and the torqued ribbons of his late canvases. This is a catalogue about biography, sources (many of them from pre-modern painting), process, form, and-particularly in the studies of major works by conservationists Jim Coddington and Susan F. Lake-materials...the many reproductions are invaluable, and Delphine Huisinga's meticulous chronologies are a boon to researchers., This volume magnifies and clarifies the great exhibition's many facets, honoring the complexity of de Kooning's historical presence and his work's lasting fascination. Short essays examine various aspects of nine distinct phases of his career; to each phase is appended a detailed chronology and an analysis of materials and methods used in a single representative canvas. In his idiosyncratic syntax, de Kooning once described himself as a "slipping glimpser," referring to his preference for the incomplete or provisional information that a dynamic viewpoint affords, and this teeming book aptly provides slipping glimpses of one of the giants of 20th-century painting.
