View Full Version : Seated Woman (1940)

01-15-2013, 12:26 PM
iPhone, oils on basic canvas ...

Link to a version of the original:
De Kooning (http://www.google.com/imgres?hl=en&safe=off&sa=X&tbo=d&biw=1241&bih=584&tbm=isch&tbnid=0U-zccGn7ExO1M:&imgrefurl=http://academics.smcvt.edu/gblasdel/slides%2520ar333/webpages/w.%2520de%2520kooning,%2520%2520seated%2520woman.h tm&docid=2jkYO6P6FVJ1qM&imgurl=http://academics.smcvt.edu/gblasdel/art/deKooning,%252520Seated%252520Woman.jpg&w=564&h=858&ei=2I30UOnQPMzriQLQ8oGACg&zoom=1&iact=rc&dur=409&sig=114442300581264135842&page=1&tbnh=144&tbnw=91&start=0&ndsp=25&ved=1t:429,r:2,s:0,i:91&tx=47&ty=87)

D Akey
01-15-2013, 12:47 PM
Very exciting process painting. . . plus she is rather graced for a deKooning. . . who usually paints women like somebody just opened the lid on the libido of a very young, fumbly teenage boy. . . All supercharged with little direction or discrimination yet. . . and I'm being kind about deKooning's sensitivity in depicting women in and around the 50s New York art scene. Only speaking of the paintings in my art book. Nevertheless, I found him intriguing. Also found in recordings of him, that he seemed very reluctant to speak about his work. Or maybe he was just flat out not after finesse in articulation on several levels - painting or speech. Dunno. Enigmatic. I liked his energy.

Yours actually looks very cool. I really like the vagueness. Had you not mentioned deKooning, I would never have guessed. That you landed on his work as a springboard is intriguing.

01-16-2013, 12:24 AM
Hi D Akey,

Thanks for the insights ... the "springboard" for choosing de Kooning, as you so nicely put it, was geometry, or structured space, I was reminded of it as I worked on my Yuhua stone, where two kinds of texture, smooth and rough, lend depth to a flat surface ...

We don't often think of abstract painting as being concerned with formal perspective, but I studied de Kooning and others -- Francis Bacon for example -- for their ability to contain very strong emotion in some arrangement that could be called artistic, and not just a mess of line and color ...

And in de Kooning's disfigured figures you can see his very strong sense of geometric space, there's some underlying order in the chaos, it's in the difference between an astronomer looking at the night sky, and me ...

01-17-2013, 06:50 PM
Good job on this, especially considering done on iPhone.

01-19-2013, 05:27 AM
The bandages came off my drawing hand yesterday -- a few weeks ago, my left ring finger had an unhappy meeting with an electric hedge trimmer -- but through the miracle of technology, I was able to continue to paint on the iPhone, and since this always has been one of my favorite ways to begin and sometimes to finish a painting, that's worked out well ...

The iPhone 5 has a little more acreage vertically, so the de Kooning portrait was a good choice ... I was interested in how he combined perspective with portrait, but left out the volume, except in the upper portion of the body and face, and how the whole figure is grounded but also floating in this very well-defined, if distorted, space ...

01-19-2013, 06:22 AM
cp---ouch!..:(... that didn't sound good.. but glad you can still paint..I too was a bit startled at your use of de Kooning as a starting point although the depth and breadth of your art history knowledge is very impressive.. I like the painterly qualities of this and its arrangement of flat and texture, color and line..a tremendous variety and depth in such a small format..:):)

D Akey
01-19-2013, 10:19 AM
A health caution about which artists you're choosing to replicate -- especially when you draw inspiration from the hack and slashery of deKooning's canvases.

I mean, I can appreciate the question of "Who put the Art into the Cuisinart?" But academic rigors of proof is not so much in the domain of the Arts. Proof is more a Science thing where when a postulation is made, it begs an independent replication to validate it.

So just put the sharp gardening tools down and step away from the canvas. . . and nobody gets hurt. . .