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Gender Construction and Manifestation in the Art of Elaine De Kooning

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Gender Construction and Manifestation in the Art of Elaine De Kooning GENDER CONSTRUCTION AND MANIFESTATION IN THE ART OF ELAINE DE KOONING ________________________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board ________________________________________________________________________ in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ________________________________________________________________________ by Lisa Beth Strahl May 2009 © Copyright by Lisa Beth Strahl 2009 All Rights Reserved iii ABSTRACT Title: Gender Construction and Manifestation in the Art of Elaine de Kooning Candidate: Lisa Beth Strahl Degree: Doctor of Philosophy Temple University, 2009 Doctoral Advisory Committee Chair: Dr. Gerald Silk As a woman whose career lifted off during the era of Abstract Expressionism, Elaine de Kooning is precariously positioned between her gender and her career. She began painting in the midst of a male-dominated movement and in later years continued to use very masculine themes in her art; however, her gender sets her apart from her mostly male colleagues during the Abstract Expressionist period. The mid-century expectation of machismo and masculinity shaped Elaine de Kooning’s art and career, and there is a tension within her art as she tried to fit the established (male) persona of the typical Abstract Expressionist artist while also maintaining a female identity. As the wife of Willem de Kooning, Elaine is most often discussed with respect to this relationship. Her name is infrequently mentioned in scholarship without reference to Willem, and her contribution to art history has only recently been studied in any length in Jane Bledsoe’s Elaine de Kooning (1992) and in a series of smaller gallery publications. Furthermore, Elaine has become recognized and respected, in some cases, more for her critical writings for Art News during the iv 1950s and 1960s than for her art.1 She was an artist turned art critic, and this crossover has further complicated the scholarly attention devoted to her. Elaine consistently revisited male-inspired subject matter: in her portraiture she painted predominantly male sitters; in her cave painting-inspired work she reflected a society of primitive male hunters; in her series of sports paintings she depicted male basketball and baseball players in dynamic postures; in her Bacchus series she investigated a male god and the vitality of the statue’s writhing male musculature; and in her bull and bison series she worked with the clichéd animalistic symbol of masculine strength and virility. These subjects, combined with the ejaculatory style of Abstract Expressionism’s loose brushwork and vibrant swirling colors, provide a unique contrast to the artist, herself, as a female personality. 1 See Elaine de Kooning, The Spirit of Abstract Expressionism: Selected Writings. New York: George Braziller, Inc., 1994. v ACKNOWLEDGMENTS I am grateful for the enormous amount of help and support I received throughout the completion of this project. I am indebted to my committee chair, Dr. Gerald Silk, who provided guidance, critical insight, direction and supervision over my many years of work. His careful reading of my manuscript shaped and developed the ideas contained therein, and his discerning suggestions led me in new and interesting directions of inquiry. I would like to thank Dr. Susanna Gold for also offering invaluable academic insights as well as unwavering encouragement throughout the completion process. Michelle Gudkencht and Sarah Van Anden, at the center of the Art History department, were invaluable aides to me during each step of this submission. And to my dissertation committee members, Dr. Therese Dolan and Dr. Jonathan Wallis, thank you for taking time from your incredible schedules to facilitate this last stage of my academic career. I also express my appreciation to the various libraries, archives and institutions and their administrators who have assisted in my research; Malissa Ryder, Registrar for rights to reproduction, Georgia Museum of Art, Athens; National Museum of Women in the Arts; Mark Planisek, National Portrait Gallery; Amy Powers, National Gallery of Art; Charles Duncan, Archives of American Art; Helen A. Harrison, Director, Pollock-Krasner House and Study Center; Genie Henderson, LTV; Nancy Campbell, Mount Holyoke College; Jenny Strayer, University Curator, Rice University; Jaye Anderton, Marcia Brennan, Gaylon vi Denning, Rice University; Robert Cozzolino, Pennsylvania Academy of the Fine Arts; Allegra LaViola, Spanierman Gallery; Susan McDonough, Hackett-Freedman Gallery; Beth Moore, Telfair Museum of Art; Patricia Svoboda, National Portrait Gallery; Emily Talbot and Sheelagh Bevan, MoMA. I am thankful for the extraordinary attention and helpfulness that I encountered on my many journeys. I extend a very special thank you to artists Sherman Drexler and Connie Fox for meeting with me to share thoughts and ideas about their dear friend and colleague, Elaine. Their insights were candidly intimate and offered an invaluable and unique perspective on this study. Last and never least I would like to thank my family and friends, who have supported and encouraged me throughout this educational pursuit. Without the mental, emotional and financial support of my mother and father, Dorothy and Carl Strahl, my aunt and uncle, Phyllis and Bob Hall, my brother, Carl Strahl, and my dear friends, Andrea Sokol, Carolynn Schoppe and Bonnie Wexler, this dissertation would have been impossible. I am grateful for the enthusiasm of Mike and Charlotte Swan, who, even after knowing me for just a brief time, went above and beyond to help. I tender special gratification to my ex-husband, Matthew Allen, for always supporting my dreams. And, lastly, I am thankful for my many friends who have offered emotional and mental support during this very long endeavor. Thank you to Kris and Melissa Williams and David Allen for propelling me to the finish line. A heartfelt thanks to Mick Swan: Thank you for always believing in me. vii TABLE OF CONTENTS PAGE ABSTRACT ....................................................................................................................... iv ACKNOWLEDGMENTS .................................................................................................. vi LIST OF ILLUSTRATIONS ............................................................................................. ix CHAPTER 1. INTRODUCTION THE CHALLENGE OF HISTORIC SITUATION .................................................1 2. ABSTRACTION AND THE BLACK MOUNTAIN COLLEGE PAINTINGS .......................................................................................14 3. PORTRAITURE ....................................................................................................32 4. THE SPORTS PAINTINGS ..................................................................................86 5. THE BACCHUS SERIES ...................................................................................117 6. BULLS, BISON, AND CAVES ..........................................................................142 7. CONCLUSION REVEALING THE WHITE GODDESS ............................................................173 SELECTED BIBLIOGRAPHY .......................................................................................178 ILLUSTRATIONS ...........................................................................................................191 viii LIST OF ILLUSTRATIONS 1. Elaine de Kooning, Black Mountain #16, 1948. Private Collection .................................................................................................191 2. Elaine de Kooning, Untitled, #15, 1948. Metropolitan Museum of Art, New York. ............................................................192 3. Willem de Kooning, Judgment Day, 1946. Metropolitan Museum of Art, New York. ............................................................193 4. Elaine de Kooning, Detail, Untitled #15, 1948. Metropolitan Museum of Art, New York. ............................................................194 5. Hans Hofmann, Ecstasy, 1947. University of California, Berkeley Art Museum. .................................................195 6. Elaine de Kooning, Untitled 11, 1948. Salander O’Reilly Galleries, New York. ..............................................................196 7. Elaine de Kooning, Self Portrait #3, 1946. National Portrait Gallery, Smithsonian Institution, Washington D.C. .................197 8. Elaine de Kooning, Detail, Self Portrait #3, 1946. National Portrait Gallery, Smithsonian Institution, Washington D.C. .................198 9. Elaine de Kooning, Detail, Self Portrait #3, 1946. National Portrait Gallery, Smithsonian Institution, Washington D.C. .................199 10. Elaine de Kooning, Untitled 12, 1948. Salander O’Reilly Galleries, New York. ..............................................................200 11. Elaine de Kooning, Black Mountain #6, 1948. Salander O’Reilly Galleries, New York. ..............................................................201 12. Grace Hartigan, Frank O’Hara, 1966. National Gallery of Art, Smithsonian Institution, Washington D.C. ...................202 13. Elaine de Kooning, Kaldis #12, 1978. Private Collection .................................................................................................203 14. Elaine de Kooning, Frank O’Hara, 1956. Private Collection. ................................................................................................204
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