Willem de Kooning, Untitled XXV, 1977. Estimated in the region of $40 million. Being sold exactly 10 years after setting world auction record for any Post-War work of art on November 15, 2006 at Christie’s New York. © Christie’s Images Limited 2016.
NEW YORK, NY.- Christie’s will present Willem de Kooning’s 1977 masterpiece, Untitled XXV, in its November 15 Evening sale of Post-War and Contemporary Art in New York. Estimated in the region of $40 million, Untitled XXV comes to the auction market for the first time since setting the world auction record for any example of Post-War Art in the very same saleroom exactly ten-years ago to the date.
Brett Gorvy, Chairman and International Head of Post-War and Contemporary Art, remarked: “Untitled XXV is an unequivocal Abstract Expressionist tour de force. We are very proud to be unveiling this work in London, where the extraordinary international presence of the Royal Academy’s Abstract Expressionist show has been so well received. Untitled XXV is a pinnacle picture from one of the most remarkable years in de Kooning’s career. Its vivid colors and painterly dynamism come together to form a totality of expression, resulting in a consummate example of the artist’s approach to abstraction.”
Untitled XXV comes from a remarkable series of large canvases that de Kooning made in a sudden burst of activity in the mid-1970s. In the spring of 1975, a comparatively long dry spell of painterly inactivity for the artist suddenly came to an end. In a flood of creativity that lasted until 1978, de Kooning found himself once again reveling in the act of painting. Fresh and re-vitalized by his recent exploration into sculpture and rejuvenated by an ever-deepening love affair with a young woman, Emilie Kilgore, de Kooning was able to sustain this output for a period of nearly four years. "I made those paintings one after the other, no trouble at all," he said. "I couldn't miss. It's a nice feeling. It's strange. It's a man at a gambling table (who) feels that he can't lose. But when he walks away with the dough, he knows that he can't do that again.”
These years are now viewed by critics as the apex of de Kooning’s painterly oeuvre, and 1977 a particular highpoint amongst them. The celebrated critic, David Sylvester called this year de Kooning’s annus mirabilis, writing that the works from 1977 “belong with the paintings made at the same age by artists such as Monet and Renoir and Bonnard and, of course, Titian.”
The artist’s surroundings are often attributed in part to the fruitfulness of this period. When he had first moved to the Springs on Long Island, de Kooning had enjoyed the unique landscape of the area and this in many ways had entered and informed his work. However, in the mid-'70s he became increasingly preoccupied with his immediate environment, its light and topography as well as, in particular, the wateriness of the landscape around a spot called Louse Point.
At Louse Point, de Kooning spent hours observing the water and its effects. He became captivated by the shimmering surface of water and its ability to reflect and merge the imagery of the land, sky, figures and itself in a constantly shifting abstract surface of color and form. It was this mercurial effect that he began again to try to emulate in his paintings, attempting to translate these relationships into the equally fluid but more materially substantial and plastic medium of paint.
Untitled XXV is a joyous and heavily material painterly expression. Layer after layer of painted form and color is built up and overlaid within the square canvas to maintain a dynamic and tenuous balance. Somehow rooted in nature yet seemingly absent of any figurative appearance, the painting articulates a landscape of painterly form brought alive with a sense of the human through the length and scale, as well as the emotive power of the artist's vigorous brushwork and twisted painterly gesture.