![]() The Woman in Me focuses on de Kooning’s propensity to “play” with the sexed body in his paintings. On a number of occasions, de Kooning admitted that the images on these canvases were “me-but with big shoulders.” Consequently, they questioned de Kooning’s attitude toward women and commitment to the Abstract Expressionist project.Ĭountering such objections to de Kooning’s psychological state and artistic goals, Marlene Clark’s The Woman in Me: Willem de Kooning, Woman I-VI argues that these canvases could be read as self-portraits, negating claims of misogyny and explaining the presence of figuration amidst abstraction. ![]() At their debut in 1953, the critics were incensed by the ugliness of the images themselves and by the inclusion of vestiges of the figure in abstraction. Willem de Kooning’s six numbered Woman paintings have incited a maelstrom of critical controversy. ![]() Clark, Marlene: Division of Interdisciplinary Studies, City College of New York, CUNY ![]()
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