A new exhibition at the Berry Campbell gallery in Manhattan offers an extensive look at the work of Elaine de Kooning, a significant figure in the mid-20th-century New York art scene. The show, titled simply “Elaine de Kooning,” features around 28 pieces, including portraits, abstract works, and watercolors, and runs through Dec. 19.
Elaine de Kooning (1918–1989) was a prolific painter, influential art critic, and founding member of The Club, a notable Greenwich Village gathering place for artists. Though often overshadowed by her husband, Willem de Kooning, one of the most renowned painters of Abstract Expressionism, Elaine de Kooning carved out her own legacy. Known for her sharp eye for talent and energetic brushwork, she balanced her role as a critic and artist during a pivotal time in modern American art.
The exhibition includes intimate portraits—among them a 1967 painting of fellow artist Alex Katz, who speaks highly of de Kooning’s “all-star” reputation—and large-scale abstractions such as the 11-foot-wide “California” (1958-60). Many works explore Abstract Expressionist techniques, marked by vigorous, confident brushstrokes with portions of canvases intentionally left unfinished, a hallmark of her style.
De Kooning’s range extended beyond painting; she was commissioned by the Harry S. Truman Presidential Library & Museum to paint a portrait of President John F. Kennedy in the early 1960s, producing numerous sketches and paintings from sessions held in Palm Beach. The exhibition includes examples from this series, reflecting a moment deeply affected by Kennedy’s assassination in 1963.
Her portraits reveal her skill at capturing not only likenesses but also the inner character of her subjects. Artist and restaurateur Toni Ross, who sat for de Kooning three times, noted the artist’s profound understanding of those she painted. Ross also recalled the mentorship and support de Kooning provided to female artists in the Hamptons art community.
De Kooning’s artistic development reflects influences from her early years, including summers at Black Mountain College, where she created abstract works inspired by artists like Arshile Gorky. Later in life, she was captivated by prehistoric art and cave paintings, which influenced a series of watercolors depicting horses, demonstrating her evolving engagement with art history.
Despite achieving critical and financial milestones—such as setting a personal auction record of over $1 million in 2022—de Kooning’s reputation has often been complicated by comparisons to her husband and the prominence of her art criticism career. Mary Gabriel’s book “Ninth Street Women” emphasizes that de Kooning’s critical writings were considered essential to the understanding of modern American painting by her contemporaries.
Chris Luyckx, de Kooning’s nephew and source of many works in the show, expressed the importance of renewing attention to her art. “Elaine has not had a substantial show in a number of years, and it’s time to bring her back into the light,” he said, describing her as a “woman of action” whose presence was “bigger than life.”
The Berry Campbell gallery, co-founded by Christine Berry and Martha Campbell, has prioritized highlighting women artists of de Kooning’s generation. Campbell noted that while the art world tends to spotlight a single female artist at a time, this exhibition might mark an enduring renewed focus on de Kooning’s contributions.
De Kooning’s career reflects the challenges faced by many women artists of her era, navigating their own creative ambitions alongside supporting the careers of their male counterparts. Yet her work continues to be recognized as vital to the narrative of Abstract Expressionism and beyond, with pieces held by major institutions like the Metropolitan Museum of Art and ongoing inclusion in group exhibitions nationwide.