伊萊恩·代·科寧全部影視作品
首發(fā)于 qinglite.cn，統(tǒng)計截止日：2026-01-20
 費(fèi)爾菲爾德波特 #1 | This portrait of Fairfield Porter, unlike her earlier self-portrait, indicates a greater sense of gestural abstraction, and even visual elements of what Harold Rosenberg called "Action Painting." Elaine de Kooning evidently took more risks with this portrait by pulling her subject closer into the foreground (confronting Porter's physical vulnerability, in a sense), yet abstracting his face in a similar manner to the surrounding background. The end result is subtly haunting, and is a stunning balance of color and shade. |
| 酒店房間里的男士 | - |
| 哈羅德·羅森伯格 | - |
| 托馬斯 B.赫斯 | - |
| 杰克·格林鮑姆的肖像 | - |
| 約翰·F·肯尼迪 | - |
| 自畫像 | In the mid 1940s, Elaine and Willem were poorer than ever, and both were experiencing great difficulty in selling any work. In an effort to make money, de Kooning painted this realist self-portrait and sold it to her sister for a sum of $20, which she described at the time as "good money." The pseudo-abstract touches in this otherwise classical portrait are very much in the style of artist Fairfield Porter, who was a close friend of the de Koonings. |
| 貝利 No. 1 | - |
| 抽象 | - |
| 無題 | - |
| 無題（拼貼） | - |
| 巴庫斯 | - |
| 星期天下午 | Shortly after receiving her professorship at the University of New Mexico, her friend, poet Margaret Randall, escorted de Kooning to Juarez, Mexico to visit the bullfights. De Kooning was captivated by the movements and colors of her new surroundings. This abstracted portrait of a bull, structured by gestural waves rendered in the warm tones of a desert landscape, was also among some the very first horizontal canvases created by de Kooning. |
| 站立的公牛 | - |
| 火炬洞穴繪圖 I | - |
| 火炬洞穴繪圖 V | - |
| 洞穴 126 | - |
| 魔墻 | - |
| 玻璃墻 | - |
| 斗牛 No. 7 | - |
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