![]() A month later at Dillon’s, a bar near the Cedar Tavern, de Kooning’s response added clout to the cliché that actions speak louder than words. At a lecture in late October, 1961, Greenberg had repeated his claim that de Kooning was a better painter before 1950 than he had been ever since. “You know, you never got out of being a figurative painter.”ĭe Kooning’s response is not documented, but it must have been less physical than the fistfight that ensued with Clement Greenberg eight years later. ![]() “You’re still doing the same goddamned thing,” Pollock complained. In Pollock’s formulation, the “it” was the grand experiment in abstract painting on which their generation had embarked, and the instrument of its betrayal was the figure. “Bill, you betrayed it,” Pollack accused. It was de Kooning’s third solo show at the gallery, and it included Woman I through V, as well as Woman with Bicycle, the body of work that would make him even more famous than he already was, and that would change modern art. In 1953 at his opening at the Sidney Janis Gallery in New York, Willem de Kooning was approached by Jackson Pollock, who was in an especially combative mood.
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