ASHEVILLE

Figure 2 "Asheville Revisited" Acrylic on Canvas 36" x 48"

It is interesting how circumstances align. In my most recently completed artwork, "Maybe 4th Street," I intentionally omitted the use of white paint. However, as I embarked on my next painting, I made a deliberate choice to incorporate white. Prior to commencing this new project, my wife and I had planned a trip to western North Carolina, with Asheville being one of our destinations. Asheville is in close proximity to Black Mountain College, which was established in 1933 and attracted pioneering artists as visiting professors, particularly during the summer months. In 1948, Willem de Kooning accepted an invitation from Joseph Albers to teach at the college, bringing his wife Elaine along. As I contemplated integrating white into my upcoming painting, I recalled that some of de Kooning's works from the late 1940s prominently featured white, such as his abstract expressionist piece from 1948 titled "Asheville" (refer to Figure 1). Upon revisiting my de Kooning book, I rediscovered this painting, which he either created during his time at Black Mountain or shortly after returning to New York. Given my decision to include white in my new artwork and my impending return to Asheville (a city I had previously visited approximately 30 years ago), the serendipitous connection to de Kooning's "Asheville" painting resonated with me. Consequently, I have aptly titled my latest creation "Asheville Revisited" (refer to Figure 2).

Figure 1 de Kooning's Asheville 1948

ASHEVILLE

Figure 1 "Asheville Revisited" Acrylic on canvas 36" x 48"

It is interesting how circumstances align. In my most recently completed artwork, "Maybe 4th Street," I intentionally omitted the use of white paint. However, as I embarked on my next painting, I made a deliberate choice to incorporate white. Prior to commencing this new project, my wife and I had planned a trip to western North Carolina, with Asheville being one of our destinations. Asheville is in close proximity to Black Mountain College, which was established in 1933 and attracted pioneering artists as visiting professors, particularly during the summer months. In 1948, Willem de Kooning accepted an invitation from Joseph Albers to teach at the college, bringing his wife Elaine along. As I contemplated integrating white into my upcoming painting, I recalled that some of de Kooning's works from the late 1940s prominently featured white, such as his abstract expressionist piece from 1948 titled "Asheville" (refer to Figure 2). Upon revisiting my De Kooning book, I rediscovered this painting, which he either created during his time at Black Mountain or shortly after returning to New York. Given my decision to include white in my new artwork and my impending return to Asheville (a city I had previously visited approximately 30 years ago), the serendipitous connection to de Kooning's "Asheville" painting resonated with me. Consequently, I have aptly titled my latest creation "Asheville Revisited" (refer to Figure 1).

Figure 2 "Asheville" Willem de Kooning 1948

ANGELS AND DEVILS

Willem de Kooning drew inspiration from Picasso and cubism, expressing a preference for cubism among all art movements. He remarked “Of all movements, I like cubism most.” Picasso's 1929 painting "Large Nude In Red Armchair" ( Figure 1) marked a significant shift in his artistic style towards Surrealism. It is evident that de Kooning's 1945 painting "Pink Angels" (Figure 2) was influenced by Picasso's work, particularly "Large Nude In Red Armchair," which de Kooning had seen at MOMA's 1939 Picasso exhibition.

Figure 1

Figure 2

Just as Picasso's painting "Large Nude In Red Armchair" signaled a turning point in his style, so too did de Kooning's "Pink Angels" mark a pivotal moment in his artistic development. While de Kooning's earlier works were more figurative, "Pink Angels" shows clear influences from Picasso’s "Large Nude In Red Armchair". Similarities can be observed in the composition, with elements like the pink and yellow square trimmed in black in the lower right (Figure 3)

Figure 3

of the de Kooning is very similar to the blue and white square trimmed with orange in the lower left of the Picasso (Figure 4).

Figure 4

The rectangular shape along the right side of the Picasso appears to be a door, corner of a wall or more likely a mirror reflecting the red of the armchair (Figure 5).

Figure 5

A similar device is employed by de Kooning (Figure 6) where the rectangular shape along the right side reflects the pink of the female form to its left.

Figure 6

If you count the dot like marks (depicting body parts) on the Picasso’s female form, there are eight (Figure 7).

Figure 7

I count eight dots in the de Kooning (Figure 8). They may or may not indicate body parts.

Figure 8

The female in the Picasso has an outstretched left arm and a rounded bottom. There is a similar design element in the De Kooning.There is even a hint of green in the de Kooning (Figure 9) that mimics the green

Figure 9

wall in the Picasso painting. While Picasso's painting conveys a sense of torment and anger, likely reflecting his personal life at the time, his dissolving marriage with Olga.  de Kooning's portrayal is more serene. The title "Pink Angels" may have been chosen by de Kooning to divert attention from the comparison with Picasso's work because the figure in the Picasso is far from an angel.

W.K. Johnson