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Student Artwork Guide

The Marshes

Name Class Date

Willem de Kooning, The Marshes (1971). 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
1971
Medium
Lithograph Drawn in grease on stone and printed on the principle that grease and water refuse to mix.
Original size
103 x 72 cm
Movement
Abstract Expressionism Large canvases where the act of painting itself — the drip, the sweep — is the subject.
Artistic style
Abstract Expressionist
Influences
HP Lovecraft
Notable elements or techniques
Gestural brushstrokes, Dynamic composition
Subject or theme
Marsh landscape

In context

The Marshes — Willem de Kooning

How big is it?

The original measures 103 × 72 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 67. The artist lived to 93. 75 of the 88 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Willem de Kooning (1904–1997) ▲ this work, 1971 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

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-the-marshes-AS7RM5-en/

Colours

Measured from the image

    Main colour

    Espresso #47443e

    Catalogued palette

    • #47443E
    • #EEECE5
    • #75726B
    • #B3B0A7

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

    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Espresso
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette 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
    Muted 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 5.6%
    3. 3 Woman V, 1952-53 (oil ^ charcoal on canvas), 1953 3.2%
    4. 4 Marilyn Monroe, 1954 2.9%
    5. 5 Door to the River, 1960 2.6%
    6. 6 Women Singing II, 1966 2.6%
    7. 7 A Tree in Naples 2.1%
    8. 8 Abstraction, 1950 2.1%
    9. 9 Seated Woman, 1940 1.8%
    10. 10 Saturday Night, 1956 1.8%
    11. 11 The visit tate gallery, 1966 1.8%
    12. 12 Composition 1.5%
    13. 13 Merritt Parkway, 1959 1.5%
    14. 14 Excavation,1950, art institute of chicago 1.5%
    15. 15 Woman Red Hair, Large Mouth, Large Foot, 1965 1.2%
    16. 16 Sphinx, 1964 1.2%
    17. 17 Parc rosenberg,1957, private 1.2%
    18. 18 Untitled (21) 1.2%
    19. 19 Two Women in the Country, 1954 0.9%
    20. 68 The Marshes, 1971 this painting 0.3%

    Together these works take 74.8% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 102 works by this artist, of which 68 were looked at at least once. This painting ranks 68 of them, with 0.3% 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

    The Marshes — Willem de Kooning

    The Marshes: An Exploration of Abstract Expressionist Emotion

    Willem de Kooning’s “The Marshes,” painted in 1971, stands as a cornerstone of American Abstract Expressionism—a movement defined by its rejection of representational art and its fervent pursuit of spontaneous emotion. Produced by Hollander Graphic Workshop and published by MOMA, this lithograph captures the essence of de Kooning’s distinctive style: bold brushstrokes, dynamic composition, and an unsettling exploration of psychological depth.

    The artwork presents a landscape devoid of conventional perspective or recognizable forms—a marsh environment rendered in shades of black, grey, and white. Rather than depicting a specific scene, it prioritizes conveying feeling over visual accuracy. The image’s grainy texture speaks to the lithographic process itself, highlighting the materiality of the print medium and adding to its textural richness.

    De Kooning's approach aligns perfectly with the broader tenets of Abstract Expressionism, which emerged in New York City after World War II as artists sought new ways to express trauma and anxiety. Influenced by Surrealist techniques—particularly automatism—the artist deliberately abandons control over his brushstrokes, allowing them to generate an energetic dance across the surface of the paper.

    The composition is deliberately chaotic; overlapping shapes and lines intertwine without discernible hierarchy. This lack of focal point isn’t a weakness but rather a strategic choice designed to immerse the viewer in a sensory experience mirroring the turbulent emotions at play. The artist's intention was not to depict reality, but to capture the visceral impact of inner turmoil.

    Further research into Willem de Kooning reveals his formative years spent grappling with familial discord and his early departure from formal schooling—experiences that undoubtedly fueled his artistic restlessness. His apprenticeship with a commercial art firm provided technical grounding while simultaneously nurturing a desire for creative liberation. Moving to America in 1926, he embraced the ethos of an outsider artist, forging a path toward groundbreaking innovation.

    The lithograph medium itself contributes significantly to the artwork’s aesthetic qualities. The process involves transferring ink from a stone matrix onto paper, resulting in precise tonal gradations and subtle variations in texture—elements that amplify the painting's expressive power. Examining “The Marshes” alongside other works by de Kooning—particularly his ‘Woman’ series—offers valuable insight into the artist’s ongoing exploration of psychological complexity.

    Considered alongside similar pieces from Stedelijk Museum De Lakenhal and complemented by biographical information on Willem van de Velde the Elder and Younger, “The Marshes” exemplifies the artistic fervor of the Dutch Golden Age. Its enduring appeal lies in its ability to evoke profound emotional responses—a testament to de Kooning’s mastery of Abstract Expressionist technique and his unwavering commitment to conveying raw feeling.

    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 The Marshes

    topimpressionists.com/en/art/download/willem-de-kooning-the-marshes-AS7RM5-en/

    Cite this artwork

    MLA
    Kooning, Willem de. The Marshes. 1971, https://topimpressionists.com/en/art/willem-de-kooning-the-marshes-AS7RM5-en/
    APA
    Kooning, Willem de (1971). The Marshes [Painting]. https://topimpressionists.com/en/art/willem-de-kooning-the-marshes-AS7RM5-en/
    Chicago
    Willem de Kooning. The Marshes. 1971. https://topimpressionists.com/en/art/willem-de-kooning-the-marshes-AS7RM5-en/
    Harvard
    Kooning, Willem de (1971) The Marshes. Available at: https://topimpressionists.com/en/art/willem-de-kooning-the-marshes-AS7RM5-en/

    Look closely

    The Marshes — 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. Our catalogue files this work under: marsh landscape, texture, gesture. Do you agree? What would you add, or take away?
    4. Look back at Woman I (1952), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Abstract Expressionism: Large canvases where the act of painting itself — the drip, the sweep — is the subject. Where can you see that in this work?

    Your response

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

    Questions & Answers

    How do contrast and harmony combine in "The Marshes"?

    The color analysis of "The Marshes" by Willem de Kooning records a statement contrast and a unified palette harmony.

    Who created "The Marshes" and what style is it in?

    "The Marshes" was created by Willem de Kooning in the Abstract Expressionism style. Artist and movement identify the work's tradition.

    What art movement does "The Marshes" by Willem de Kooning belong to?

    "The Marshes" by Willem de Kooning belongs to the Abstract Expressionism movement. This movement provides the stylistic context of the work.