Landscape at Stanton Street

Signiert mit Bleistift unten rechts

Nummeriert unten links:

'58/60'

Signed in pencil on the lower right

Numbered on the lower left:

'58/60'

60

Graham 26

With the Hollanders Workshop Incorporated blindstamp, published by Hollanders Workshop and Fourcade, New York

Zilczer, J. A way of living: The art of Willem de Kooning. New York: Phaidon, 2014 (p. 208)

Graham. L. The prints of Willem de Kooning – A catalogue raisonné 1957 – 1971 / I. Paris: Baudoin Lebon Éditeur, 1991a

Graham L. Willem de Kooning – Printer’s proofs from the collection of Irwin Hollander, master printer. New York: Salander-O’Reilly Galleries & Canal Arts Corporation, 1991b

Cooke L. On the Stone. Times Literary Supplement, 29 Aug. 1986 (p. 940)

Fourcade, X. De Kooning: Lithographs, Stockholm: Gunner Olsson, 1985 (p. 22)

Larson Ph. Willem de Kooning: The Lithographs. Print Collector's Newsletter, 5, March –April 1974 (pp. 6f)

Ashbery J. Willem de Kooning: A suite of lithographs translates his famous brushstroke into black and white. Art News Annual, 37, 118-128, 1971

Die Lithographien Willem de Koonings sind bei weitem nicht so zahlreich, werden seltener ausgestellt und sind somit weniger bekannt. Wie viele andere Künstler im Umfeld des Abstrakten Expressionismus, arbeitete de Kooning kurze Zeit mit S.W. Hayter im Atelier 17 in New York, Anfang der vierziger Jahre. Obwohl de Kooning, Jackson Pollock, Mark Rothko und viele andere Wesentliches über Automatismen von Hayter lernten, erwuchs den meisten berühmten Malern daraus zunächst kein anhaltendes Interesse für die Drucktechnik. In den späten vierziger Jahren konzentrierten sich diese Künstler fast ausschliesslich auf das Malen und Zeichnen und neigten dazu, das Drucken schon vom Denkansatz her als eher minderwertig zu betrachten. die Druckgrahik war damals für die führenden Mitglieder der New Yorker Avantgarde - im Gegensatz zu ihren Künstlerkollegen in Europa - keine bedeutende Form des künstlerischen Ausdrucks. Erst Anfang der sechziger Jahre - nach der Gründung des Universal Limited Art Editions Workshop (ULAE) in New York, des Tamarind Lithography Workshop in Los Angeles und des Hollanders Workshops in New York - revidierten viele der Abstrakten Expressionisten ihre Überzeugung und gaben erstmalig limitierte und signierte Editionen ihrer Drucke heraus.

'When de Kooning decided to make lithographs again in 1970, it was to Hollander that he turned (…). Hollander, and a number of other printers, had tried to encourage de Kooning to make more prints in the late ‘60s, but he did not respond. He changed his mind after visiting Japan in 1969. Here is Hollander’s recollection: “It was not until he returned from his trip to Japan that he responded to do a body of lithographs. Perhaps the seeing and feeling of calligraphy, sumi brush painting and Zen inspired him sufficiently to do prints. Whatever, the results were beautiful… We worked together in 1970 and 1971, proofing thirty-eight images, of which twenty-four were editioned.”(…) Tree groups of prints resulted from that intense year of creativity (June 1970 to June 1971). (…) Somewhat later in 1971, four more editions were pulled and published by Hollander’s workshop, in association with Fourcade, who had recently resigned from Knoedler. These were drawn on stone. Most of the etching was done by Hollander. All of the editioning was done by Genis, the gifted Dutch printer who had worked at TLW, Gemini, and ULAE. The fact that de Kooning finally had made a major commitment to printmaking was big news in New York. The Museum of Modern Art exhibited the editions. Among the most important in this group are: Landing Place, Big, The Marshes, Woman at Amagansett, Wah Kee Spare Ribs, High School Desk, Beach Scene, Sting Ray, Reflections, The Preacher, and Landscape at Stanton Street. The majority of these prints are brilliant fusions of what can be seen, and what surrounds what can be seen. Many are among the most rhythmic prints of the twentieth century (…). To de Kooning, formlessness is not an alien concept, it is second nature. De Kooning moves at ease between one mode of perception and another. Not everyone can do this. Most people rely on their rational mode of perception, and do not use their intuitive perception. De Kooning has developed both sides of his perceptual capacity. His iconography during this period centers on the relationship between the formless and the formed. The nothingness, which can be felt but not seen, is an essential dimension of the subject-matter. In the majority of the most important prints in the Knoedler-Hollander set, such as Beach Scene, Woman in Amagansett, The Preacher, The Marshes, Landing Place, or Landscape at Stanton Street, the visible reality of the street or the body you see has been fused with the environment surrounding it, the landscape within which the subject dwells, the landscape you can feel with your eyes closed.' (Graham, 1991b, p. 33).