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de Kooning: An American Master


de Kooning: An American Master Cover

ISBN13: 9780375711169
ISBN10: 0375711163
Condition: Standard
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My mother was a tyrant and Willem was stubborn. —Marie van Meurs-de Kooning, de Koonings sister

In Rotterdam, the boys often gathered near the harbor, playing games and picking up pocket money running errands for the dockworkers. They trailed behind the gangs of foreign sailors and watched the eccentrics who loitered around the docks. The Schiedamsedijk district—filled with bars, dance halls, street musicians, and prostitutes—was nearby. So were the shops of the Jewish Quarter, which kept unconventional hours and possessed the allure of another culture. Around the docks there was always some excitement. Rules of every kind were being broken—or so a boy could hope.

Willem de Kooning was one of the boys who haunted the waterfront. Among the largest and most modern in the world, the harbor was Rotterdams heart, a pulsing, vital, rude area that in the good years of the early twentieth century worked around the clock. It was a place of both mystery and hard labor, of constant traffic between the practical and the exotic. Cranes broke the line of the horizon. Ships arrived from faraway places. Strange words hung in the air. Here, de Kooning began to develop a taste for the flux and hurly-burly of the modern world. Change, modernity, and the sea came together in his mind.

Even more important, the harbor was an open promise. If de Kooning relished the human energy of the docks, his imagination also required the sea, his first and most constant muse, just beyond. “There is something about being in touch with the sea that makes me feel good,” he would later tell the critic Harold Rosenberg. “Thats where most of my paintings come from, even when I made them in New York.” The child whom his mother and sister called “Wim” would watch the ships by the hour. He liked the way “the air mirrored the water” and enjoyed the rippling give-and-take of color and light between the sky above and the sea below. When he was only four, according to his older sister, Marie, he surprised his family by drawing a big toom (his word for “boat”) on the wallpaper, the first “de Kooning” on record. Early on, the sea also became synonymous with freedom—from poverty and a too-tidy, often smothering country that, like many Protestant cultures, made a point of individuality while encouraging conformity. And freedom, too, from a suffocating family torn by furious arguments and harsh beatings.

De Kooning means “the king” in Dutch. There was nothing royal, however, about de Koonings background. He was born on April 24, 1904, on the ground floor of a house that still stands at Zaagmolenstraat 13, a thoroughfare in the working-class district of Rotterdam Noord (North Rotterdam). The city of his birth was a place of tension and impermanence, at once modern and premodern. In the Rotterdam of de Koonings youth, workers bought produce from peasants who came to the market wearing traditional costume and wooden shoes. It was a city in which tradition was constantly challenged by the new.

Until 1850, Rotterdam was a quiet provincial port twenty-three miles upriver from the North Sea. In the second half of the nineteenth century, however, it became the Dutch city that welcomed the future, a place of gritty and dynamic vitality. It was the first Dutch city to have electricity. It was also the least snobbish city in Holland. In contrast to the aristocratic The Hague, the historic royal capital, Rotterdam was more than willing to tear down the past in order to adapt to the demands of industry. In the 1860s, Rotterdam boldly filled in the river after which it was named, the Rotte, because it was too small to handle modern shipping. It used the space to run a railway to the water. In 1874, the city constructed modern shipping facilities. The rapidly developing German industries of the Rhineland, in need of a port, then sent their goods down the Rhine to Rotterdam. In 1890 the Nieuw Waterweg—the New Waterway, or Rotterdam Seaway—connected Rotterdam directly to open water; before that, ships had to traverse a series of difficult channels. The city became an economic power. The harbor defined the citys character, regulated its rhythms, and its unending activity turned night into day; the flow of traffic determined how well, or how poorly, Rotterdammers would eat.

At midcentury, the city had a population of fifty thousand. During the next twenty-five years, the number of inhabitants tripled. By the turn of the century, around the time de Kooning was born, Rotterdams population was over 300,000, and the city was the fastest growing in Holland. North Rotterdam, where de Kooning mostly grew up, was developed by speculators to house the rapidly expanding working-class population. A shabby, cramped district of endless-seeming rowhouses, North Rotterdam lay just north and east of the city center. Like other poor districts of the city, including huge areas of working-class housing south of central Rotterdam, it was home to an itinerant population of sailors, stevedores, and peasants. Many such peasants, driven from the land by cheap grain imported from North America, clumped together in colonies within the city. Thousands of poor immigrants making their way to America from Germany and eastern Europe poured into the city by train, before booking passage on the Holland-America line.

Despite the ceaseless change, Rotterdam remained fairly stable. A small number of shipbuilders and wealthy families—many of them original Rotterdammers—dominated the city. Laborers, economically insecure and often desperate for work, were reluctant to risk their jobs by challenging authority. Although the Dutch have often prided themselves on being less class conscious than the English or the French, the Holland of de Koonings youth, like the industrializing Midlands of England or the Wales of the young D. H. Lawrence, was a stratified society in which advancement was difficult and the wounds of class sharp. De Koonings ancestors were mostly servants, laborers, and craftsmen. His paternal great-grandfather, Cornelis de Kooning, was a shipbuilder from Woerden, a small river town about twenty-five miles northwest of Rotterdam. Born in 1810 or 1811, Cornelis moved from Woerden to Delfshaven, a coastal town west of Rotterdam where his son Willem—named after Corneliss father—was born in 1838. Sometime in the 1840s, Cornelis moved to Rotterdam to work in the citys burgeoning shipbuilding business. He settled at Vinstraat 2 with his wife, Anna Catharina Jacoba Jurgens, his son Willem, and his daughter Jacoba.

In 1850, Cornelis died at the age of thirty-nine or forty, leaving his wife and children on their own. For the next ten years, his wife supported her family by working as a maid. At the time of her husbands death, Willem—the grandfather after whom de Kooning would be named—was twelve years old and still in school. His education ended soon afterward. (It was the custom until well after the turn of the century for working-class children to leave school at twelve, then be apprenticed in various crafts.) Like his father, Willem worked in the shipyards. In 1865 he married Maria van Ladenstijn, who had been a maid. They had ten children, four of them boys. Among them was de Koonings father, Leendert.

Leendert was born in Rotterdam on February 10, 1876, and grew into an ambitious but also stiff and emotionally withdrawn man. His face was shuttered—a vein of selfishness, according to family lore, ran through the de Koonings. He began his working life selling flowers, first from a cart and then at a flower stand at the railroad station. In 1896, the year he turned twenty, he started a small company with his oldest brother that bottled and distributed beer to pubs. Eventually he went off on his own, establishing a beer-bottling and distribution business in a modest building at Vledhoekstraat 26 in North Rotterdam, not far from a large new Heineken brewery. He appeared stable and was earning a little money. If he was very reserved, that was hardly unusual in Holland, and might have even appeared romantic in a handsome man in his early twenties. In 1897 or 1898, his eye settled upon Cornelia Nobel, who was everything Leendert was not—fiery, impetuous, caustic, and outspoken. In turn-of-the-century Rotterdam, Leenderts ambitious and frugal nature would make him seem an excellent match for a working-class girl like Cornelia Nobel.

Cornelias family had lived in Schiedam, a town adjacent to western Rotterdam, since at least the eighteenth century. In 1873, Cornelias mother—also named Cornelia—had married Christiaan Gerardus Nobel, a packing-case maker and carpenter. The couple settled at Rotterdamsedijk 47A, in a small lane in Schiedam, where Nobel made barrels and cases to hold the cheap gin for which Schiedam was known. The marriage produced nine children, five of whom died young. Three of the surviving children were girls. (The lone son, de Koonings uncle, Chris Nobel, was the first in the family to set out for America. He settled in Brooklyn, where de Kooning sometimes visited him after coming to New York.) Cornelia was born on March 3, 1877. Even as a child she was considered formidable. She possessed, as her relatives said diplomatically, a “temperament.”

Small and slim, Cornelia had black hair, dark eyes, and a figure in which she took great pride. She was a restless young woman, constantly on edge, with a sharp temper and wicked tongue. She rarely laughed. Acquaintances consistently thought of her as being much taller and bigger than she was, a “masterful woman who dominated the entire family,” in the words of Jacobus “Koos” Lassooy, her third surviving child and the offspring of a later second marriage. Everyone in her family found her difficult. Henk Hofman, a cousin of de Koonings, said that even his mother—Cornelias sister—could not bear her for long. A woman who demanded center stage throughout her life, Cornelia was histrionic by nature; an interest in performing seems to have run in her family. She sang in her youth, according to family history, and did some amateur acting once her children were grown. Her relatives credited her with taste—which may have been a way of saying she was socially ambitious and put on airs. She was also “very quick,” according to members of her family, and spoke rapid-fire Dutch with “a heavy” Rotterdam accent.

As an adolescent, Cornelia left her family in August 1894 and went to the town of Haarlem, probably to work as a maid. It was a bold step: Haarlem was about fifty miles from Rotterdam, a significant distance in that era. But Cornelia returned to Schiedam the following year, at the end of October 1895, perhaps because she was ill-suited to the role of a servant. Two possibilities were open to a woman in her position. She could marry, or she could work in menial jobs. She was a pretty young woman, and her flair and dramatic personality no doubt proved a charming and interesting challenge to young men. In September 1898, she became pregnant with Leenderts child. Such an occurrence was not unusual, either for the period or the couples social class. If pregnancy out of wedlock was not condoned, neither was it forcefully condemned. Few young men could afford to support a family; members of the Dutch working class often married late. As a result, it was not surprising that the young engaged in sex outside of marriage or that, in the days before birth control, young women often became pregnant. Rotterdam was a city full of people at loose ends in which traditional sexual mores were more respected than followed.

Nonetheless, a man was still expected to take responsibility for a woman he impregnated. The couple was married on December 22, 1898, in Schiedam. Leendert was twenty-two, Cornelia twenty-one. No one knows whether their marriage was strongly desired or merely the result of a brief sexual encounter. What is certain, however, is that the young couple immediately came under intense personal pressure. In 1899, six months after the wedding, de Koonings older sister, Marie, was born. Twin girls—Adriana and Cornelia—soon followed, in 1901, but they died days after their birth. Then came another daughter, Cornelia, in 1902, who died when she was eight months old. Willem de Kooning—the fifth child, but only the second to survive—was born in 1904, on April 24. By then, Cornelia had spent virtually all of her married life pregnant, either taking care of infants or burying them. She did so in a neighborhood where every day was a struggle: de Koonings family was part of a great mass of people hanging on week by week, trying to find their way in a newly evolving society.

Her husband had little energy to give to his family. Still in his twenties, he was working hard to establish his own business, hiring several employees to help him bottle beer for Heineken and other breweries. He also delivered the beer by means of dog and pony carts from his Vledhoekstraat concern to pubs throughout the district. Soon he expanded his business to bottle and distribute Elko lemonade as well. At the time of Willems birth, the de Koonings lived on Zaagmolenstraat, where the houses were slightly larger than those on the neighboring side streets—a subtle mark of Leenderts rise in the world. But the house itself was anything but fancy. In de Koonings neighborhood, a man was rich if he owned a bicycle. (It was not unusual in the Rotterdam of 1910 for a man to walk two hours each way to work.) Most money was spent on necessities, though workers often blew their paychecks in the pubs—the only spots of warmth and brightness in the dank darkness of a Rotterdam winter, when the wind swept in from the North Sea. Meat was usually eaten once a week, on Sundays. The staple was potatoes flavored with lard from the butchers shop.

Housing for workers, including the house where the de Koonings lived, was typically built according to the same plan. An apartment consisted of two small rooms, one used as a parlor and the other as a kitchen and gathering spot for the family. In between the two rooms was an even smaller and windowless half-room—essentially a passageway—which served as a communal bedroom. On each side of the passageway there was a sleeping alcove, one for the parents and the other for the children; as many as three or four children might share a bed. Water came from a cold-water tap on the landing that was used by the two families sharing the floor. They also used a common toilet, located in a closet on the landing, which contained a bucket that was emptied manually. Since heat cost money, people were often cold. The de Koonings probably used a coal stove. Those still poorer relied on small cooking stoves to take the chill off the day; coins were inserted into a meter that turned on the gas. Baths were typically taken once a week at most, either at a public bath or at home, where each member of the family used the same tub of heated water. The hot water was purchased at the local grocery store and then hauled back home and up the steps to the apartment. Since washing clothes was difficult and expensive—it required buying hot water or hiring a laundress—clothes were rarely clean. Bedclothes, cumbersome and hard to dry, were almost never washed.

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Douglas, September 27, 2008 (view all comments by Douglas)
This remarkable, award-winning biography of Willem de Kooning is illuminating in a number of ways, but primarily has left me with the impression of a man tortured over his work, never satisfied, reworking and reworking, and never derivative of others.
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Product Details

Stevens, Mark
Alfred A. Knopf
Mark Stevens and Annalyn Swan
Krauss, Rosalind E.
Swan, Annalyn
Artists, Architects, Photographers
United states
Artists -- United States.
De Kooning, Willem
Biography-Artists Architects and Photographers
Edition Description:
Publication Date:
Grade Level:
65 color plates, 8 halftones
10 x 6.75 in

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de Kooning: An American Master Used Trade Paper
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$18.50 In Stock
Product details 176 pages Alfred A. Knopf - English 9780375711169 Reviews:
"Synopsis" by ,
In the early 1950s, Willem de Kooningandrsquo;s Woman I and subsequent paintings established him as a leading member of the abstract expressionist movement. His wildly impacted brushstrokes and heavily encrusted surfaces baffled most critics, who saw de Kooningandrsquo;s monstrous female image as violent, aggressive, and ultimately the product of a misogynistic mind. In the image-rich Willem de Kooning Nonstop, Rosalind E. Krauss counters this view with a radical rethinking of de Kooningandrsquo;s bold canvases and reveals his true artistic practices.

Krauss demonstrates that contrary to popular conceptions of de Kooning as an artist who painted chaotically only to end a piece abruptly, he was in fact constantly reworking the same subject based on a compositional template. This template informed all of his art and included a three-part vertical structure; the projection of his male point of view into the painting or sculpture; and the near-universal inclusion of the female form, which was paired with her re-doubled projection onto his work. Krauss identifies these elements throughout de Kooningandrsquo;s oeuvre, even in his paintings of highways, boats, and landscapes: Woman is always there. A thought-provoking study by one of Americaandrsquo;s greatest art critics, Willem de Kooning Nonstop revolutionizes our understanding of de Kooning and shows us what has always been hiding in plain sight in his work.

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