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Willem de Kooning was one of the most important and celebrated Abstract Expressionist painters, and his paintings exemplify the movement's strong, expressive style. He produced a profoundly abstract style of painting that blended Cubism, Surrealism, and Expressionism, maybe more than any of his contemporaries. While many of his contemporaries transitioned from figuration to abstraction, de Kooning always painted figures, particularly women, alongside abstractions, with no distinction between the two history categories. De Kooning argued that his true subject was space and the figure-ground relationship.
Throughout his long career, De Kooning blended abstraction, figuration, and landscapes in diverse ways, and his never-ending search for new shapes and topics made his overall output more diversified than most of his contemporaries. His relationship with popular culture was also distinctive, and it influenced a slew of postwar artists, from Robert Rauschenberg's Neo-Dadaism to James Rosenquist's Pop Art, and newer painters like Cecily Brown have explored the gestural sexuality of his later paintings.
Unlike the majority of his contemporaries, de Kooning never completely abandoned the representation of the human figure. His female paintings are a unique blend of gestural abstraction and figuration. De Kooning, who was heavily influenced by Picasso's Cubism, became a master at ambiguously mixing figure and ground in his paintings while dismembering, re-assembling, and distorting his figures in the process.
Although he was known for constantly altering his canvases, de Kooning frequently left them with a sense of dynamic incompletion, as if the figures were continuously moving, settling, and coming into definition. His paintings, in this sense, embody Harold Rosenberg's concept of Action Painting: the painting is an experience, a meeting between the artist and the materials, rather than a finished product in the traditional sense.
Although he came to symbolize the common image of the macho, hard-drinking artist, de Kooning addressed his painting with attention and was regarded as one of the most knowledgeable of the New York School artists. He exhibited remarkable skill, having been properly taught as a young man, and while he appreciated Modern masters such as Picasso, Matisse, and Miró, he also liked Ingres, Rubens, and Rembrandt.