{"version":"1.0","provider_name":"Rollins Museum of Art","provider_url":"https:\/\/blogs.rollins.edu\/rma","author_name":"Isaac Gorres, Curatorial Intern","author_url":"https:\/\/blogs.rollins.edu\/rma\/author\/igorres\/","title":"Willem de Kooning, \u201cTwo Women\u201d","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"qRG3MF1Pwl\"><a href=\"https:\/\/blogs.rollins.edu\/rma\/2022\/04\/04\/willem-de-kooning-two-women\/\">Work of the Week: Willem de Kooning, \u201cTwo Women\u201d<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/blogs.rollins.edu\/rma\/2022\/04\/04\/willem-de-kooning-two-women\/embed\/#?secret=qRG3MF1Pwl\" width=\"600\" height=\"338\" title=\"&#8220;Work of the Week: Willem de Kooning, \u201cTwo Women\u201d&#8221; &#8212; Rollins Museum of Art\" data-secret=\"qRG3MF1Pwl\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/blogs.rollins.edu\/rma\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2022\/01\/dekooning-two-women.jpeg","thumbnail_width":800,"thumbnail_height":967,"description":"A monolith in American Abstract Expressionism, Dutch-born artist Willem de Kooning had a diverse artistic career lasting for over five decades. I first encountered the work of de Kooning in person during 2017 at the Hirshhorn Museum and Sculpture Garden in Washington, DC. As I rounded the bend of the donut-shaped building in the exhibition\u00a0Masterworks from the Hirshhorn Collection,\u00a0de Kooning\u2019s\u00a0Woman\/Verso: Untitled\u00a0of 1948 greeted me from the wall of the gallery. The subject of the painting had a single distinguishable eye, a toothy grin, and multiple arms partially obscured by her yellow hair. The earliest surviving painting in de Kooning\u2019s most famous series,\u00a0Woman\/Verso: Untitled\u00a0actually represented the artist\u2019s second foray into the application of figural abstraction to depict the bodies of women. He also painted a series of women in the early 1940s, and he would later revisit the subject with this series of monochromatic lithographs in the 1970s."}