( EASTER SUNDAY THAT YEAR FELL ON 1 APRIL.) THIS WORK 96" X 74" WAS PAINTED WITH OIL PAINT AND NEWSPRINT (ADDED TO SLOW THE DRYING TIME) WHICH WAS MOUNTED ON CANVAS. USING HUGE BRUSHES, DE KOONING WORKED VERY FAST OVER LONG PERIODS OF TIME IN THE EFFORT TO COME UP WITH SOMETHING THAT WASN'T OF A PRECONCEIVED NATURE. AT THE END OF THESE SESSIONS, HE MORE OFTEN THAN NOT FOUND HIMSELF COMPLETELY EXAUSTED.
AS HE DID NOT ALWAYS WORK ON THE SAME PAINTING EACH DAY, THIS PROCESS COULD GO ON FOR MONTHS. THE NEXT INTEGRAL PART OF THE ARTIST'S CREATIVE PROCESS WOULD BEGIN UPON ARRIVAL AT THE STUDIO, AT WHICH TIME DE KOONING HAD A "FRESH" LOOK AT THE PAINTING IN QUESTION. IN THE EARLY MORNING CALM, THIS OPENING VIEW PROVIDED HIM A CONTEMPLATIVE MOMENT TO SEE IF HIS ENERGETIC EFFORTS MIGHT BECOME A PAINTING IN THE PUREST FORM. HE WOULD STUDY THE IMAGE OF A "NOTHING OR A SOMETHING" AT LENGTH, IN THE HOPES OF DISCERNING THE SIMPLE GEOMETRIC POSSIBILITIES. WITH THIS KNOWLEDGE HE COULD THEN ADD, WHERE NECESSARY, SECONDARY EXTENSIONS TO STABILIZE AND STRENGTHEN THE EXISTING GEOMETRIC FORMS, BUT, WITHOUT HAVING THEM DOMINATE THE OVERALL STRUCTURE. THE PRE-EXISTING GEOMETRY WOULD THUS REMAIN A SILENT PARTNER INVISIBLY HELPING TO CONVEY THE ARTIST'S VISION. IN THIS WAY THE SURFACE WAS KEPT FRESH AND EXCITING, ALLOWING THE WORK'S FRONTAL ELEMENT TO BE THE COLORS AND SHAPES MOVING FORWARD AND BACK, CARESSING THE EYE OF THE BEHOLDER.
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