Venice is currently hosting a major exhibition that sheds new light on Willem de Kooning’s lesser-known sculptural endeavors. Renowned for his pivotal role in Abstract Expressionism, de Kooning’s exploration of sculpture from the 1930s and 1940s, and his renowned “Woman” series of the 1950s, is now the focus of a compelling show at the Gallerie dell’Accademia. The exhibition, which runs through September 15, marks a significant examination of the artist’s 3D experiments.
Gary Garrels, the co-curator of the exhibition, shared his long-standing fascination with de Kooning’s sculptures. “My first interaction with de Kooning sculptures was some 30 years ago,” Garrels told ARTnews. His initial encounter occurred at the Bonnefanten Museum in Maastricht, Netherlands. After struggling to find a venue for a dedicated exhibition, Garrels found an opportunity with curator Mario Codognato, leading to the current showcase titled “Willem de Kooning and Italy.” This exhibition explores de Kooning’s transformative period in Italy from 1959 to 1969 and is the largest presentation of his work in Italy in nearly two decades.
The Venice exhibit opens with three abstract paintings from de Kooning’s acclaimed Sidney Janis Gallery show in 1959, juxtaposed with three pieces created shortly after his return to New York.
Garrels highlighted a noticeable shift in de Kooning’s palette and brushstrokes, reflecting a more sensual and fluid approach. Notably, the exhibition includes de Kooning’s 50 collaged drawings made in Rome, aided by Italian painter Afro Basaldella.
In 1969, de Kooning’s third trip to Italy, invited by art patron Priscilla Morgan, led him to the Festival dei Due Mondi in Spoleto. This trip was pivotal for his sculptural work, as he encountered sculptor Herzl Emanuel and began crafting small clay figures, eventually casting 13 in bronze. “This body of small sculptures is the heart and soul of the show,” Garrels stated. The centerpiece of the exhibition is “Hostess,” a bronze sculpture capturing de Kooning’s expressive and irreverent style.
During a 1970 visit to New York, sculptor Henry Moore encouraged de Kooning to enlarge his clay models into full-scale sculptures. The first piece to be scaled up was Untitled #12, a seated female figure. Eleven such works, created from this period, are on display in Venice for the first time since a 2011 survey at MoMA.
The exhibition also includes works by Auguste Rodin, Alberto Giacometti, and Medardo Rosso, providing context for de Kooning’s influence on modern bronze sculpture. Garrels and Codognato curated the show to highlight the interplay between de Kooning’s paintings, sculptures, and drawings. The fluidity in his later paintings reflects the wetness of clay in his sculptures. Noteworthy are two figurations from 1971, Red Man with Moustache and Man Accabonac, previously exhibited as a diptych in 1972.
By 1974, de Kooning felt he had exhausted his sculptural phase, marking the end of a five-year cycle typical in his career. The final room of the exhibition features paintings from the 1980s that continue themes from his late ’70s work, characterized by complex surfaces and subtle color variations.
