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Student Artwork Guide

Sphinx

Name Class Date

Willem de Kooning, Sphinx (1964). Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Willem de Kooning topimpressionists.com/en/artists/willem-de-kooning/
Artist’s dates
1904 – 1997
Painted
1964
Original size
61 x 47 cm
Movement
Abstract Expressionism Large canvases where the act of painting itself — the drip, the sweep — is the subject.
Period
Modern
Artistic style
Abstract, Figurative
Influences
Post-war anxieties
Notable elements or techniques
Impasto, wet-on-wet
Subject or theme
Femininity, vulnerability

In context

Sphinx — Willem de Kooning

How big is it?

The original measures 61 × 47 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1900
  2. 1910
  3. 1920
  4. 1930
  5. 1940
  6. 1950
  7. 1960
  8. 1970
  9. 1980
  10. 1990

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 93 at death.

Painted when the artist was 60. The artist lived to 93. 52 of the 88 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Willem de Kooning (1904–1997) ▲ this work, 1964 every dated painting, decade by decade

First works: up to 1949 Main working years: 1949–1965 Late works: from 1965

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

  • Woman I, 1952 topimpressionists.com/en/art/willem-de-kooning-woman-i-8XZ6VM-en/
  • Painting, 1948 topimpressionists.com/en/art/willem-de-kooning-painting-8XZ6W2-en/
  • Still Life, 1945 topimpressionists.com/en/art/willem-de-kooning-still-life-9H5R4G-en/

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: topimpressionists.com/en/art/similar/willem-de-kooning-sphinx-AQZFH8-en/

Colours

Measured from the image

    Main colour

    Coral #ea9558

    Catalogued palette

    • #EA9558
    • #F3E9B1
    • #E3C183
    • #B0755C

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Pastels The dominant colour family in the image.
    Main colour name
    Coral
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Clear Color Presence How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Willem de Kooning over the last twelve months — 38 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 24.7%
    2. 2 United States of America 17.4%
    3. 3 Brazil 6.2%
    4. 4 United Kingdom 6.2%
    5. 5 Italy 4.5%
    6. 6 South Korea 4.5%
    7. 7 Belgium 3.4%
    8. 8 Spain 2.2%
    9. 9 France 2.2%
    10. 10 Romania 2.2%
    11. · 28 other countries 26.5%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Willem de Kooning

    1. 1 Woman I, 1952 37.8%
    2. 2 Excavation, 1950 6.4%
    3. 3 Woman V, 1952-53 (oil ^ charcoal on canvas), 1953 3.3%
    4. 4 Marilyn Monroe, 1954 3.0%
    5. 5 Women Singing II, 1966 3.0%
    6. 6 Door to the River, 1960 2.7%
    7. 7 Abstraction, 1950 2.0%
    8. 8 Seated Woman, 1940 2.0%
    9. 9 Saturday Night, 1956 2.0%
    10. 10 The visit tate gallery, 1966 2.0%
    11. 11 Composition 1.7%
    12. 12 Merritt Parkway, 1959 1.7%
    13. 13 A Tree in Naples 1.3%
    14. 14 Woman Red Hair, Large Mouth, Large Foot, 1965 1.3%
    15. 15 Excavation,1950, art institute of chicago 1.3%
    16. 16 Two Women in the Country, 1954 1.0%
    17. 17 Queen of Hearts, 1946 1.0%
    18. 18 Painting, 1948 1.0%
    19. 19 The Wave 1.0%
    20. 27 Sphinx, 1964 this painting 0.7%

    Together these works take 76.2% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 102 works by this artist, of which 64 were looked at at least once. This painting ranks 27 of them, with 0.7% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Sphinx — Willem de Kooning

    A Visceral Encounter with the Fragmented Self: Decoding Willem de Kooning’s ‘Sphinx’

    Willem de Kooning's 1964 oil painting, ‘Sphinx’, is not merely a visual experience; it’s an immersion into the turbulent currents of Abstract Expressionism and a profound exploration of the human psyche. Measuring 61 x 47 cm, this work pulsates with raw energy, its surface alive with swirling brushstrokes and intense hues of orange and yellow. To stand before ‘Sphinx’ is to confront a fragmented reality, a world where form dissolves into emotion and suggestion replaces definition. It's a painting that doesn’t offer answers but instead invites contemplation on the elusive nature of identity and the complexities of feminine representation—themes central to de Kooning’s artistic journey.

    Deconstructing Representation: The Figure as Echo

    At the heart of ‘Sphinx’ lies an ambiguous depiction of a female figure, though “depiction” feels inadequate given its radical abstraction. De Kooning doesn't present a portrait in the traditional sense; rather, he offers fleeting glimpses—hints of eyes, a suggestion of a mouth, perhaps the curve of a nose—all dissolving into a dynamic interplay of color and texture. This deliberate ambiguity is key to understanding the painting’s power. It isn’t about portraying a specific woman but evoking the essence of femininity, vulnerability, and the societal pressures often imposed upon women. This echoes throughout his famous ‘Woman’ series, where he similarly wrestled with representation and its inherent limitations. The title itself, 'Sphinx', is laden with symbolism; sphinxes are mythical guardians known for their enigmatic nature and challenging riddles. De Kooning seems to present us with a similar puzzle, an invitation to confront our own perceptions and emotions in the face of ambiguity.

    The Language of Paint: Technique and Emotional Resonance

    De Kooning’s technique is integral to the emotional impact of ‘Sphinx’. As a pivotal figure in Abstract Expressionism—a movement born from the anxieties and uncertainties of post-World War II America—he rejected traditional artistic conventions, prioritizing subjective experience over representational accuracy. The painting embodies this ethos through its energetic brushwork, lack of defined form, and emphasis on the physical act of painting itself. He employed a wet-on-wet application of paint, allowing colors to bleed and blend, creating a hazy, atmospheric quality that amplifies the sense of emotional turmoil. The impasto technique—the thick layering of oil paint—adds a tactile dimension, with pronounced brushstrokes and drips contributing to the work’s raw immediacy. The dominance of warm tones – oranges and yellows – isn't merely aesthetic; it contributes to an overall feeling of intensity, perhaps even anxiety, drawing the viewer into the painting’s emotional core.

    A Legacy of Innovation: De Kooning in Context

    Born in Rotterdam in 1904 and later immigrating to the United States, Willem de Kooning became a defining voice of American art. His journey from commercial artist to Abstract Expressionist pioneer was marked by constant experimentation and a relentless pursuit of authentic expression. ‘Sphinx’, created during a period of significant social and political change, reflects this spirit of innovation and rebellion. The painting stands as a testament to de Kooning’s ability to translate complex emotions into a visual language that continues to resonate with audiences today. It's a work that demands attention, sparks conversation, and adds depth and complexity to any environment—a powerful reminder of art’s capacity to tap into our deepest feelings and challenge our perceptions.

    Artist and museum

    Artist

    Willem de Kooning

    Born in Rotterdam, Netherlands

    A Life Forged in Abstraction

    Willem de Kooning, a name synonymous with the raw energy and emotional depth of Abstract Expressionism, was born in Rotterdam, Netherlands, in 1904. His early life was marked by a familial split – his parents divorced when he was young – which perhaps instilled within him a sense of restless searching that would permeate his artistic journey. Leaving formal schooling at twelve, de Kooning apprenticed with a commercial art firm, laying the groundwork for his technical skill while simultaneously fueling a desire to break free from conventional constraints. Evening classes at the Academie van Beeldende Kunsten en Technische Wetenschappen in Rotterdam provided further foundational training, but it was a yearning for something more – a bolder, more expressive language – that ultimately propelled him towards America in 1926. His arrival wasn’t straightforward; he famously stowed away on a ship, embodying the spirit of an outsider seeking new horizons. New York City became his adopted home, and its vibrant, often gritty energy profoundly shaped his evolving style. He navigated various jobs – house painter, carpenter – all while relentlessly pursuing his artistic vision, absorbing the city’s pulse into his work.

    From Urban Scenes to Abstract Fury

    De Kooning's early paintings reflected his immediate surroundings: urban landscapes and portraits that captured the dynamism of New York life. However, these were merely stepping stones towards a more profound exploration of form and emotion. A pivotal moment came with his connection to Arshile Gorky, whose influence proved transformative. Gorky encouraged de Kooning’s experimentation with abstraction, fostering a willingness to dismantle traditional representation in pursuit of something deeper. The 1930s saw de Kooning engage with social realism and mural projects through the Works Progress Administration (WPA), a period that honed his skills but also highlighted the limitations of purely representational art. He found himself drawn towards the work of Stuart Davis and John Graham, artists who were pushing boundaries in their own right. This confluence of influences gradually steered him away from literal depiction and toward an increasingly abstract vocabulary. It wasn’t a sudden shift, but rather a slow burn – a deliberate dismantling of established norms fueled by intellectual curiosity and a relentless pursuit of artistic truth.

    The Woman Series: A Landmark Achievement

    Following World War II, de Kooning emerged as a central figure in the burgeoning Abstract Expressionist movement. This period marked a turning point, culminating in his iconic “Woman” series (1950-1953). These paintings – including the monumental *Woman I* – are not merely depictions of female figures; they are visceral explorations of femininity, sexuality, and the complexities of human emotion. Characterized by aggressive brushstrokes, fragmented forms, and a jarring juxtaposition of colors, the “Woman” series challenged conventional notions of beauty and representation. They were controversial, even shocking to some, but their power lay precisely in their refusal to conform. De Kooning wasn’t interested in creating idealized images; he sought to capture the raw, untamed essence of his subjects. Beyond the "Woman" series, works like The Glazier and Excavation further demonstrated his dynamic approach to painting, showcasing a masterful command of texture, color, and composition. He didn't shy away from chaos or ambiguity; instead, he embraced them as integral components of his artistic language.

    Evolving Landscapes and Enduring Legacy

    In the 1960s, de Kooning’s style underwent another significant evolution. While abstraction remained central to his work, landscape elements began to play a more prominent role, often rendered with a brighter palette and a looser, more fluid brushstroke. He continued to experiment relentlessly throughout his life, exploring different techniques and materials, never content to rest on his laurels. His later works demonstrate a remarkable ability to reinvent himself while remaining true to his core artistic principles. Willem de Kooning’s historical significance is undeniable. He helped establish New York City as a global center for art, challenging the dominance of European traditions and paving the way for future generations of artists. His work continues to inspire awe and provoke debate, reminding us of the power of abstraction to convey profound emotional truths. De Kooning passed away in 1997, leaving behind a vast and influential body of work that stands as a testament to his unwavering commitment to artistic innovation and his enduring legacy as one of the most important American artists of the 20th century. His impact resonates still.

    Where to read more

    Find this online

    QR code linking to the download page for Sphinx

    topimpressionists.com/en/art/download/willem-de-kooning-sphinx-AQZFH8-en/

    Cite this artwork

    MLA
    Kooning, Willem de. Sphinx. 1964, https://topimpressionists.com/en/art/willem-de-kooning-sphinx-AQZFH8-en/
    APA
    Kooning, Willem de (1964). Sphinx [Painting]. https://topimpressionists.com/en/art/willem-de-kooning-sphinx-AQZFH8-en/
    Chicago
    Willem de Kooning. Sphinx. 1964. https://topimpressionists.com/en/art/willem-de-kooning-sphinx-AQZFH8-en/
    Harvard
    Kooning, Willem de (1964) Sphinx. Available at: https://topimpressionists.com/en/art/willem-de-kooning-sphinx-AQZFH8-en/

    Look closely

    Sphinx — Willem de Kooning

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. How many faces can you find? ____ (our catalogue counts 1 — do you agree?)
    4. Our catalogue files this work under: fragmented figure, femininity, emotion. Do you agree? What would you add, or take away?
    5. Look back at Woman I (1952), earlier in this guide. Name two things it shares with this work, and one that is different.

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Sphinx — Willem de Kooning

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. Willem de Kooning’s ‘Sphinx’ is primarily categorized under which art movement?

      • A Impressionism
      • B Cubism
      • C Abstract Expressionism
    2. 2. What is a prominent characteristic of de Kooning’s technique in ‘Sphinx’?

      • A Precise, detailed brushwork
      • B Impasto with energetic and gestural brushstrokes
      • C Smooth, blended color gradients
    3. 3. The title 'Sphinx' suggests what about the artwork’s intended interpretation?

      • A A straightforward portrait of a known figure
      • B An open-ended puzzle inviting contemplation
      • C A celebration of ancient Egyptian mythology
    4. 4. What is the approximate size of 'Sphinx'?

      • A 100 x 75 cm
      • B 61 x 47 cm
      • C 80 x 60 cm
    5. 5. The painting's color palette is dominated by which tones?

      • A Cool blues and greens
      • B Warm oranges and yellows
      • C Neutral grays and blacks

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1C · 2B · 3B · 4B · 5B

    Check any answer against the catalogue record for this painting

    Questions & Answers

    What color saturation does "Sphinx" by Willem de Kooning have?

    "Sphinx" by Willem de Kooning is recorded with a clear color presence saturation.

    What is a reproduction of "Sphinx" by Willem de Kooning recommended for?

    A reproduction of "Sphinx" by Willem de Kooning is recommended for accent. This suggestion follows from the work's subject, mood and colors.

    Is "Sphinx" by Willem de Kooning a painting, a drawing or a print?

    "Sphinx" is a wall art piece.