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21

WILLEM De KOONING (1904-1997) HEAD #3 bronze 18 x 10 x 11 in. (45.7 x 25.4 x 28 cm) cast in 1973 ...

Currency:USD Category:Everything Else / Other Start Price:NA Estimated At:250,000.00 - 350,000.00 USD
WILLEM De KOONING (1904-1997) HEAD #3 bronze 18 x 10 x 11 in. (45.7 x 25.4 x 28 cm) cast in 1973 ...
WILLEM De KOONING
(1904-1997)
HEAD #3
bronze
18 x 10 x 11 in.
(45.7 x 25.4 x 28 cm)
cast in 1973 <p>PROVENANCE
Xavier Fourcade Inc., NEW YORK <p>EXHIBITED
HUNTINGTON, Heckscher Museum, CONTEMPORARY LONG ISLAND ARTISTS, 1974
MINNEAPOLIS, Walker Art Center; OTTAWA, National Gallery of Canada; WASHINGTON, DC, The Phillips Collection; BUFFALO, Albright-Know Art Gallery; HOUSTON, The Museum of Fine Arts and ST. LOUIS, Washington University Art Gallery, DE KOONING: DRAWINGS/SCULPTURES, 1974-1975
NEW YORK, Fourcade, Droll, Inc., DE KOONING: NEW WORKS-PAINTINGS AND SCULPTURE, October 25-December 6, 1975, no. 22 (illustrated)
CHICAGO, The Art Institute of Chicago, THIRTY-FOURTH EXHIBITION OF THE SOCIETY FOR CONTEMPORARY ART, 1975
WEST PALM BEACH, Norton Gallery and School of Art, DE KOONING: PAINTINGS, DRAWINGS, SCULPTURES, 1967-75, December 10, 1975-February 15, 1976, p. 27 (illustrated)
Seattle Art Museum, DE KOONING: NEW PAINTINGS AND SCULPTURE, February 4-March 14, 1976, no. 22 (illustrated)
Indianapolis Museum of Art, PAINTING AND SCULPTURE TODAY, 1976
AMSTERDAM, Stedelijk Museum; Wilhelm-Lehmbruck-Museum derStadt Duisburg; GENEVA, Cabinet des Estampes, Musée d'Art et d'Histoire and GRENOBLE, Musée de Peinture et de Sculpture, WILLEM DE KOONING: BEELDEN EN LITHOS, 1976, no. B-22 (illustrated)
EDINBURGH, Fruit Market Gallery and LONDON, Serpentine Gallery, THE SCULPTURES OF DE KOONING WITH RELATED PAINTINGS, DRAWINGS AND LITHOGRAPHS, organized by the Arts Council of Great Britain, 1977,
no. 22 (illustrated)
NEW YORK, The Solomon R. Guggenheim Museum, WILLEM DE KOONING IN EAST HAMPTON, February 10-April 23, 1978, no. 93 (illustrated)
BRIDGEPORT, CT, Fairfield Arts Festival, Museum of Art, Science and Industry, ARTIST OF THE YEAR, June 3-11, 1978
CEDAR FALLS, University of Northern Iowa Gallery of Art; The St. Louis Art Museum; Cincinnati Contemporary Arts Center; Akron Art Institute, DE KOONING 1969-78, 1978-1979, no. 35 (illustrated)
PITTSBURGH, Museum of Art, Carnegie Institute, WILLEM DE KOONING: PITTSBURGH INTERNATIONAL SERIES, October 26, 1979-January 6, 1980, no. 124 (illustrated)
NEW YORK, Grey Art Gallery, PERCEIVING MODERN SCULPTURE, 1980
EAST HAMPTON, Guild Hall, WILLEM DE KOONING: WORKS FROM 1951-1981, May 23-July 19, 1981
AMSTERDAM, Stedelijk Museum; HUMELBÆK, Louisiana Museum and STOCKHOLM, Moderna Museet, WILLEM DE KOONING: THE NORTH ATLANTIC LIGHT 1960-1983, no. 70 (illustrated)
NEW YORK, Whitney Museum of American Art; BERLIN, Akademie der Küste and Musée d'art moderne de la ville Paris, Centre Georges Pompidou, WILLEM DE KOONING: DRAWINGS, PAINTINGS, SCULPTURE, December 15, 1983-September 24, 1984, p. 260, no. 276 (illustrated)
LONDON, Anthony d'Offay, WILLEM DE KOONING: PAINTING AND SCULPTURE 1971-83, November 21, 1984-January 11, 1985, no. 18 (illustrated) <p>LITERATURE
J. Bell, "Willem de Kooning's New Work", ARTS MAGAZINE, November 1975, p. 79 (illustrated)
H.F. Gaugh, WILLEM DE KOONING, NEW YORK, 1983, pl. 90 (illustrated)
"Sculpture arises from the most basic gesture and its metamorphoses: dance, pantomime, sports, and all the controlled or moderated movements which impose a body any perceptible cadence" (L. Benoist, LA SCULPTURE FRANCAISE, PARIS, 1963). These words embody the sculptural production of Willem de Kooning, a sculpture that captures the art of lyrical and explosive passionate movement, which is categorically primitive and primordial.
The relationship between de Kooning's sculpture and painting is a response to his desire to grasp his painted images fully in his hands, to construct them concretely in order to unite the two modes in a precision of expression. Setting aside all tools, de Kooning works directly by hand, attacking the material and producing an unbridled lyricism; the external marks of the representational object are then ruthlessly swept away, kneading the material in order to provide an indecipherable "image." None of de Kooning's sculptural figures seem to reach figural maturity: they are incapable of liberating or disengaging themselves, they retain the marks of obsessing or obsessional thoughts, and thus, through the use of his fingers, de Kooning quite simply retains the painterly gestures of his canvases. Ultimately, the organically charged forms, their surfaces extruded, have been roughened and warped by the passionate and desperate pressures of the artist's hands. "The work exposes itself suddenly with the same savage brutality as raw art, until it creates a kind of malaise, as if the spectator were inside the statue, enclosed and possessed by it. Developing space in order to fill it with the vital energy sought by the sculptor of African art, de Kooning creates a similar 'phantom effect,' the sign of an excessive presence. This is probably the characteristic which led to Baudelaire's description of sculpture: 'brutal and positive as nature herself, it is at the same time a certain vagueness and ambiguity, because it exhibits too many surfaces at once'"
P. Cummings, WILLEM DE KOONING: DRAWINGS, PAINTINGS, SCULPTURE, 1984, p. 242
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