Willem de Kooning, ‘Untitled V’, Christie's

Willem de Kooning (1904-1997)

Untitled V

signed 'de Kooning' (on the stretcher)

oil on canvas

69 1/4 x 79 3/8 in. (175.8 x 201.6 cm.)

Painted in 1980.

Signature: signed 'de Kooning' (on the stretcher)

East Hampton, Guild Hall, Willem de Kooning: Works from 1951–1981, May-July 1981, no. 39.

New York, Xavier Fourcade, Willem de Kooning: New Paintings, 1981–1982, March-May 1982.

Athens, Ethniki Pinakothiki, Modern American Paintings: The Museum of Fine Arts Houston, September-November 1982, p. 50, no. 41 (illustrated).

Fort Collins, Colorado State University, Willem de Kooning: Recent Works, March 1984, p. 3, no. 3 (illustrated)

New York, Waldorf Astoria, Art in Embassies Program: U.S. Ambassador to the United Nations residence, October 1999-January 2000.

New York, Mitchell-Innes & Nash, Garden in Delft: Willem de Kooning Landscapes 1928–88, May-June 2004, pp. 50-51, pl. 12 (illustrated in color).

Vienna, Bank Austria Kunstforum and Kunsthal Rotterdam, Willem de Kooning, January–July 2005.

Kunstmuseum Basel, Willem de Kooning: Paintings 1960–1980, September 2005–January 2006, pp. 166-167, no. 35 (illustrated in color).

New York, Gagosian Gallery, Willem de Kooning: The Last Beginning, September –October 2007, p. 47 (illustrated in color).

New York, Museum of Modern Art, de Kooning: A Retrospective, September 2011-January 2012, pp. 442 and 449, no. 179 (illustrated in color).

A. Berman, “I Am Only Halfway Through,” ARTnews, February 1982, p. 69 (earlier state illustrated in color).

H.F. Gaugh, Willem de Kooning, New York, 1983, pp. 106–107, no. 97 (illustrated in color).

R. Katz, “Not a Pretty Picture,” Esquire Magazine, April 1991, p. 112 (earlier state illustrated).

Y. Fuji and Y. Kenichi, Willem de Kooning, Tokyo, 1993, p. 92, pl. 81 (illustrated in color).

S.J. Checkland, “Blank Expressions,” Times Magazine London, 9 April 1994, pp. 8–9 (earlier state illustrated in color).

R. Storr, “Des Diverses Manières d’Ecorcher un Chat Doté de Sept Vies,” Artpress, 1995, p. 45 (illustrated in color).

S. Yard, Willem de Kooning, New York, 1997, p. 109, no. 94 (illustrated in color).

R. Long, “The Mysteries of de Kooning,” East Hampton Star, 6 May 2004, p. C10 (illustrated in color).

J. Lawrence, “Willem de Kooning: New York,” _Burlington Magazine,_August 2004, p. 573, no. 94 (illustrated).

S. Yard, Willem de Kooning: Works, Writings and Interviews, Barcelona, 2007, p. 125 (illustrated in color).

J. Saltz, "Definitive: at MoMA, the full, amazing, ever-evolving, never-retreating story of Willem de Kooning," _New York Magazine,_26 September 2011, pp. 74-75 (installation view illustrated in color).

Estate of Willem de Kooning, New York

Private collection, New York

Pace Gallery, New York

Acquired from the above by the present owner

About Willem de Kooning

A first-generation Abstract Expressionist, Willem de Kooning is one of the most important artists of the 20th century. In 1950s New York, when painters like Jackson Pollock and Franz Kline were moving away from representational imagery toward pure abstraction, de Kooning maintained a commitment to the figurative tradition, developing a signature style that fused vivid color and aggressive paint handling with deconstructed images of the female form—a then-controversial body of works that has become known as his “Women” paintings. “Flesh was the reason oil paint was invented,” he famously said. Influenced by Arshile Gorky and Pablo Picasso, de Kooning was often thought to have blended Cubism, Expressionism, and Surrealism in his signature style, paving the way for generations of gestural figurative painters like Cecily Brown. Following his “Women” series, de Kooning pursued non-objective lyrical abstraction until his death in 1997.

Dutch, American, 1904-1997, Rotterdam, Netherlands, based in New York and East Hampton, New York