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Student Artwork Guide

Untitled

Name Class Date

Willem de Kooning, Untitled (1962). Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Willem de Kooning originaluniqueart.com/en/artists/willem-de-kooning/
Artist’s dates
1904 – 1997
Painted
1962
Medium
Oil On Canvas
Original size
203 x 178 cm
Movement
Abstract Expressionism Large canvases where the act of painting itself — the drip, the sweep — is the subject.
Period
Modern
Artistic style
Energetic brushstrokes
Influences
Franz Kline
Notable elements
Urban landscape
Subject
Abstraction

In context

Untitled — Willem de Kooning

How big is it?

The original measures 203 × 178 cm (height × width), drawn here beside an adult of average height. It is too large to draw to scale on this page.

When was this painted?

  1. 1900
  2. 1910
  3. 1920
  4. 1930
  5. 1940
  6. 1950
  7. 1960
  8. 1970
  9. 1980
  10. 1990

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 93 at death.

Painted when the artist was 58. The artist lived to 93. 48 of the 88 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Willem de Kooning (1904–1997) ▲ this work, 1962 every dated painting, decade by decade

First works: up to 1949 Main working years: 1949–1965 Late works: from 1965

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/willem-de-kooning-untitled-AQZFH6-en/

Colours

Measured from the image

    Main colour

    Gray #5e6667

    Catalogued palette

    • #5E6667
    • #EEE3BC
    • #F2D41A
    • #AC926A

    These colours inside the artist’s whole palette Find other paintings by colour

    Main colour name
    Gray
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Bold How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Clear Color Presence How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Willem de Kooning over the last twelve months — 38 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 24.7%
    2. 2 United States of America 17.4%
    3. 3 Brazil 6.2%
    4. 4 United Kingdom 6.2%
    5. 5 Italy 4.5%
    6. 6 South Korea 4.5%
    7. 7 Belgium 3.4%
    8. 8 Spain 2.2%
    9. 9 France 2.2%
    10. 10 Romania 2.2%
    11. · 28 other countries 26.5%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Willem de Kooning

    1. 1 Woman I, 1952 37.7%
    2. 2 Excavation, 1950 5.6%
    3. 3 Woman V, 1952-53 (oil ^ charcoal on canvas), 1953 3.2%
    4. 4 Marilyn Monroe, 1954 2.9%
    5. 5 Door to the River, 1960 2.6%
    6. 6 Women Singing II, 1966 2.6%
    7. 7 A Tree in Naples 2.3%
    8. 8 Abstraction, 1950 2.0%
    9. 9 Seated Woman, 1940 1.8%
    10. 10 Saturday Night, 1956 1.8%
    11. 11 The visit tate gallery, 1966 1.8%
    12. 12 Composition 1.5%
    13. 13 Merritt Parkway, 1959 1.5%
    14. 14 Excavation,1950, art institute of chicago 1.5%
    15. 15 Woman Red Hair, Large Mouth, Large Foot, 1965 1.2%
    16. 16 Sphinx, 1964 1.2%
    17. 17 Parc rosenberg,1957, private 1.2%
    18. 18 Untitled (21) 1.2%
    19. 19 Two Women in the Country, 1954 0.9%
    20. 33 Untitled, 1962 this painting 0.6%

    Together these works take 75.1% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 102 works by this artist, of which 68 were looked at at least once. This painting ranks 33 of them, with 0.6% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Untitled — Willem de Kooning

    A Symphony of Yellows and Shadows

    In the pantheon of Abstract Expressionism, few works capture the raw, kinetic energy of the mid-century New York art scene quite like Willem de Kooning’s Interchange. Completed in 1955, this monumental canvas serves as a profound testament to a pivotal moment in artistic evolution—a dramatic departure from de Kooning's earlier, more figurative depictions of the female form toward a bold, visceral exploration of urban landscapes. The painting is not merely a depiction of a city; it is an experience of one. Through a masterful command of expressive brushwork and a deliberate simplification of form, de Kooning invites the viewer into a world where the boundaries between structure and chaos dissolve into a vibrant, rhythmic dance of color and light.

    The technical brilliance of Interchange lies in its palpable texture and the artist's heavy use of impasto. By applying paint in thick, deliberate layers with significant pressure, de Kooning created a surface defined by ridges and valleys that catch the light, lending the work a three-dimensional vitality. This technique was heavily influenced by the stark, gestural lines of Franz Kline, whose influence encouraged de Kooning to prioritize movement and emotional weight over meticulous representation. The composition is a deliberate study in asymmetry, utilizing fragmented geometric shapes—rectangles and trapezoids—that appear to collide and overlap amidst swirling, energetic strokes. This creates a sense of beautiful disorientation, mirroring the turbulent, fast-paced psychological landscape of the post-war era.

    The Pulse of the Urban Soul

    Beyond its technical prowess, Interchange carries a deep symbolic resonance that speaks to the human condition within the modern metropolis. The palette is dominated by a striking interplay of yellows and blacks, punctuated by sudden, unexpected flashes of blue and red. These colors do not merely sit upon the canvas; they interact with an intensity that suggests the flickering lights and shadowed alleys of a bustling city at dusk. The fragmented shapes can be seen as echoes of urban architecture—the skeletal remains of buildings or the fleeting silhouettes of street life—yet they remain abstract enough to represent the internal, emotional turbulence of the viewer. It is a painting that captures the very essence of "interchange"—the constant, restless movement of ideas, people, and energy that defines modern existence.

    For the discerning collector or interior designer, an exquisite reproduction of this masterpiece offers more than just visual decoration; it provides a focal point of profound intellectual and emotional depth. The sheer scale and dynamism of de Kooning's vision make it an ideal centerpiece for spaces that demand character and sophistication. Whether placed in a contemporary gallery-style living room or a curated professional studio, the work brings with it the historical weight of the Abstract Expressionist movement. It serves as a window into a period of unparalleled creative freedom, offering a timeless sense of movement and a sophisticated dialogue between light and shadow that continues to inspire awe decades after its creation.

    Artist and museum

    Artist

    Willem de Kooning

    Born in Rotterdam, Netherlands

    A Life Forged in Abstraction

    Willem de Kooning, a name synonymous with the raw energy and emotional depth of Abstract Expressionism, was born in Rotterdam, Netherlands, in 1904. His early life was marked by a familial split – his parents divorced when he was young – which perhaps instilled within him a sense of restless searching that would permeate his artistic journey. Leaving formal schooling at twelve, de Kooning apprenticed with a commercial art firm, laying the groundwork for his technical skill while simultaneously fueling a desire to break free from conventional constraints. Evening classes at the Academie van Beeldende Kunsten en Technische Wetenschappen in Rotterdam provided further foundational training, but it was a yearning for something more – a bolder, more expressive language – that ultimately propelled him towards America in 1926. His arrival wasn’t straightforward; he famously stowed away on a ship, embodying the spirit of an outsider seeking new horizons. New York City became his adopted home, and its vibrant, often gritty energy profoundly shaped his evolving style. He navigated various jobs – house painter, carpenter – all while relentlessly pursuing his artistic vision, absorbing the city’s pulse into his work.

    From Urban Scenes to Abstract Fury

    De Kooning's early paintings reflected his immediate surroundings: urban landscapes and portraits that captured the dynamism of New York life. However, these were merely stepping stones towards a more profound exploration of form and emotion. A pivotal moment came with his connection to Arshile Gorky, whose influence proved transformative. Gorky encouraged de Kooning’s experimentation with abstraction, fostering a willingness to dismantle traditional representation in pursuit of something deeper. The 1930s saw de Kooning engage with social realism and mural projects through the Works Progress Administration (WPA), a period that honed his skills but also highlighted the limitations of purely representational art. He found himself drawn towards the work of Stuart Davis and John Graham, artists who were pushing boundaries in their own right. This confluence of influences gradually steered him away from literal depiction and toward an increasingly abstract vocabulary. It wasn’t a sudden shift, but rather a slow burn – a deliberate dismantling of established norms fueled by intellectual curiosity and a relentless pursuit of artistic truth.

    The Woman Series: A Landmark Achievement

    Following World War II, de Kooning emerged as a central figure in the burgeoning Abstract Expressionist movement. This period marked a turning point, culminating in his iconic “Woman” series (1950-1953). These paintings – including the monumental *Woman I* – are not merely depictions of female figures; they are visceral explorations of femininity, sexuality, and the complexities of human emotion. Characterized by aggressive brushstrokes, fragmented forms, and a jarring juxtaposition of colors, the “Woman” series challenged conventional notions of beauty and representation. They were controversial, even shocking to some, but their power lay precisely in their refusal to conform. De Kooning wasn’t interested in creating idealized images; he sought to capture the raw, untamed essence of his subjects. Beyond the "Woman" series, works like The Glazier and Excavation further demonstrated his dynamic approach to painting, showcasing a masterful command of texture, color, and composition. He didn't shy away from chaos or ambiguity; instead, he embraced them as integral components of his artistic language.

    Evolving Landscapes and Enduring Legacy

    In the 1960s, de Kooning’s style underwent another significant evolution. While abstraction remained central to his work, landscape elements began to play a more prominent role, often rendered with a brighter palette and a looser, more fluid brushstroke. He continued to experiment relentlessly throughout his life, exploring different techniques and materials, never content to rest on his laurels. His later works demonstrate a remarkable ability to reinvent himself while remaining true to his core artistic principles. Willem de Kooning’s historical significance is undeniable. He helped establish New York City as a global center for art, challenging the dominance of European traditions and paving the way for future generations of artists. His work continues to inspire awe and provoke debate, reminding us of the power of abstraction to convey profound emotional truths. De Kooning passed away in 1997, leaving behind a vast and influential body of work that stands as a testament to his unwavering commitment to artistic innovation and his enduring legacy as one of the most important American artists of the 20th century. His impact resonates still.

    Where to read more

    Find this online

    QR code linking to the download page for Untitled

    originaluniqueart.com/en/art/download/willem-de-kooning-untitled-AQZFH6-en/

    Cite this artwork

    MLA
    Kooning, Willem de. Untitled. 1962, https://originaluniqueart.com/en/art/willem-de-kooning-untitled-AQZFH6-en/
    APA
    Kooning, Willem de (1962). Untitled [Painting]. https://originaluniqueart.com/en/art/willem-de-kooning-untitled-AQZFH6-en/
    Chicago
    Willem de Kooning. Untitled. 1962. https://originaluniqueart.com/en/art/willem-de-kooning-untitled-AQZFH6-en/
    Harvard
    Kooning, Willem de (1962) Untitled. Available at: https://originaluniqueart.com/en/art/willem-de-kooning-untitled-AQZFH6-en/

    Look closely

    Untitled — Willem de Kooning

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: yellow background, geometric shapes, urban landscape. Do you agree? What would you add, or take away?
    4. Look back at Woman I (1952), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Abstract Expressionism: Large canvases where the act of painting itself — the drip, the sweep — is the subject. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Untitled — Willem de Kooning

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What artistic movement is Willem de Kooning associated with?

      • A Cubism
      • B Impressionism
      • C Abstract Expressionism
    2. 2. In what year was the painting “Interchange” completed?

      • A 1926
      • B 1940
      • C 1955
    3. 3. Where is “Interchange” currently displayed?

      • A Louvre Museum
      • B Museum of Modern Art (MoMA)
      • C Hirshhorn Museum and Sculpture Garden
    4. 4. What was the primary subject matter shift in de Kooning's paintings compared to his earlier works?

      • A Portraits of women
      • B Still lifes
      • C Landscapes
    5. 5. Who influenced Willem de Kooning’s painting technique, inspiring him to explore urban landscapes?

      • A Pablo Picasso
      • B Franz Kline
      • C Vincent van Gogh

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1C · 2C · 3C · 4A · 5B

    Check any answer against the catalogue record for this painting

    Questions & Answers

    Who created "Untitled"?

    "Untitled" is attributed to Willem de Kooning.

    What is the format of "Untitled"?

    The format of "Untitled" is landscape. This is useful when planning where a reproduction will be placed.

    Where should a reproduction of "Untitled" by Willem de Kooning be hung?

    Format (landscape) and recommended space (living room) are the two placement facts recorded for "Untitled" by Willem de Kooning.