introduction of cooler hues to balance the temperature of the painting and add depth by building layers.
Using varied blue tones, light and dark.
a hint of representational, not sure that it works..
WILLEM DE KOONING 'WOMAN SERIES'
Woman, I 1950-52
The Visit, 1966-67
His aggressive distortion of the figure is unsurpassed in his earlier figurative works, his swiftly applied paint strokes simultaneously defining the subject and dissolving it.
http://www.hirshhorn.si.edu/collection/conserving-modern-materials/#detail=/bio/analysis-of-willem-de-koonings-woman-1948/&collection=conserving-modern-materials
aggressive brushwork and abstract imagery
The female figure is rendered in garish pinks, reds, and whites with the eyes and mouth emphasized and given an almost savage treatment.
Subject: De Kooning described the figurative motif of this painting not as a representation but as a thing slapped on the canvas, liberating him from formal anxieties. Woman I "did one thing for me: it eliminated composition, arrangement, relationships, light, because that [motif] was the one thing I wanted to get hold of. I thought I might as well stick to the idea that it's got two eyes, a nose and mouth and neck."
Distinguishing features: Eyes as big as grenades, teeth grinning violently, huge limbs, mountainous breasts - this "woman" is exaggeratedly, absurdly physical and at the same time not there at all, a spewed monster of fantasy, a crude graffito that took two anguished years to paint. Pink legs stick out of a red and yellow white-flecked inferno of skirt, the white clouds of the bosom float in de Kooning's mind as apocalyptically remote as the bride that hangs above the bachelors in Duchamp's Large Glass.
http://www.guardian.co.uk/culture/2002/aug/24/art
