Walking with de Kooning through Greenwich Village in the late 50s was, in the words of one writer, like being with a movie star. Heads turned. It seemed a wonderful thing to talk in the de Kooning way, particularly after struggling with ones art. Ruth Kligman, an abstract painter who for decades seemed to know everyone and be everywhere in the art world and who was the lone survivor of the 1956 car crash that killed Jackson Pollock, her lover at the time, died Monday at Calvary Hospital in the Bronx. [Pause.] Ruth Kligman knew all about the darkness that haunted the world of Jackson Pollock. Pollock already had the look of a man dying of alcohol poisoning before he was killed in the car crash. Following is The New York Times obituary of the artist. Kligman admired artists above all else; she wanted to play Camille Claudel to de Koonings Rodin, to talk and inspire, to be the muse as well as the lover of genius. Images of demons become objects of sheer beauty. And then when it was 1950 no one went home. Ms. Kligman wrote that he looked tired out, sad, and that his body seemed as though it couldnt stand up on its own., Ms. Kligman, by contrast, as described by Mark Stevens and Annalyn Swan in de Kooning: An American Master, their 2004 biography, had about her the air of the earthy, voluptuous movie stars of the era, such as Elizabeth Taylor or Sophia Loren. (She was portrayed by Jennifer Connelly in Pollock, the 2000 movie about his life; Ms. Kligman filed suit against the films makers, contending that they had violated her copyright in using parts of her memoir. They sensed that, somewhere in those ferocious Women paintings of the early 50s, there was a small and terrified boy. For more than a year and a half, he tried to complete a single picture of a woman. De Kooning named a painting, Ruth's Zowie, [6] for Kligman's exclamation at seeing it. Windgate Foundation . and were open to many interpretations and many beliefs., Asked today to comment on the auctions postponement, Miner said, Were excited as the [Kligman] estate continues to finalize its additional research, and look forward to working with them to offer this piece in early 2013.. He became the natural figure for the dreams of the decade to gather around. In the paper pieces, the strokes are barely distinguishable from their job of shining the paper surface. Kligman, who survived the fatal car crash that killed Pollock, (and who died two years ago), claimed that the . Perhaps someone painted. I always wanted one like her, he would say. As Biography and The Guardian report, just after 10 p.m. on August 11, 1956, Pollock drove his convertible Oldsmobile into a tree at 80 mph. Some people who knew de Kooning early and well consider him an artist who burned for success in the art world, a rather Machiavellian figure who manipulated people in order to get ahead. It was very poignant, because I just saw this guy in the window, waving.. Ruth Kligman's Post-Pollock Life By Mark Stevens May 9, 1994 A painter of enduring vitality, Willem de Kooning, who turns 90 this month, created important pictures for almost 50 years. Kligman recalled, as own her work began to mature a few years later, The expression became alive . He was everybodys hero, said the painter Jane Freilicher, a tremendously charismatic figure.. Ruth KLIGMAN is an artist born in the 20th century. Ruth Kligman, an abstract painter who for decades seemed to know everyone and be everywhere in the art world and who was the lone survivor of the 1956 car crash that killed Jackson Pollock, her lover at the time, died Monday, according to the New York Times. Others might make a dream of de Koonings personathat handsome aura of the passionate, suffering geniusbut de Kooning himself faced very real demons. She was married for seven years to a Spanish painter, Carlos Sansegundo, and lived briefly in Ibiza and later, off and on, in Santa Fe, N.M., though her life remained centered on the New York art world. [3][4], Kligman was involved with Pollock in 1956 for a few months before his death. A man is standing by a window in the Empire State Building and all of a sudden he sees this guy named Jeff come falling by. But who was Ruth Kligman? The interlocking palimpsests of experience that Monet conjured from the water are reflected in the flecks of color and shifting shades that make up the ethereal atmosphere of Kligmans landscapes of the sky. The Club and the Cedar made quasi-official what had been informal. With Jackson Pollock, Ed Harris, Ruth Kligman, Lee Krasner. De Koonings new studio was a large and spacious loft at Broadway and 12th Street, about four times larger than his old space. Ms. Kligman said that de Kooning had called her his sponge because she asked him so many questions and soaked up so much about the New York School of painting, though her own work, which she exhibited throughout her life, drew from her Abstract Expressionist mentors only in the beginning. . Tap into Getty Images' global scale, data-driven insights, and network of more than 340,000 creators to create content exclusively for your brand. An abstract painter, her works led her in various directions including iconography, gilding, curved canvases,. Postmodernism has no idea how to approach this phenomenon. De Kooning could go weeks, even months, without alcohol. Kligman developed in several directions at different stages in her career, including iconography, gilding, curved canvases, bright primary shapes, and sunset-inspired gradations. To put it differently, this was not just kidding around. The least mark applied with extreme presencing by a master in command of her medium and taking the space for an entirely cosmic ride. He once said, Youre so honest. Then again, Ward says wryly, another time he said, Youre so devious. Smart, with a no-bull and no-nonsense attitude that appealed to de Kooning, she probably knew him as well as anyone in the world. Ruth Kligman | Artsy Artists Artworks Auctions Viewing Rooms Galleries Fairs Shows Museums Ruth Kligman Filter by 0 Artworks: Sort: Keyword Search Artists Artists You Follow ( 0) Rarity Unique Limited Edition Open Edition Unknown Edition Medium Painting Photography Sculpture Prints Work on Paper NFT Show more Price Min $USD Max $USD $ 0 $ 50000 + De Kooning sometimes took the rebuke hard. There remain disagreements among critics over the value of the various periods in his art. In a careful balance of physical marking and emerging imagery, the presence of a demon as a bundle of co-existing perspectives, defines itself in a viewers imagination. De Kooning seemed to speak a partly homemade language, a slightly skewed English with a Dutch accent, which could not be confined to the straight and narrow. I felt I had known him for years.. Ruth Kligman (January 25, 1930 - March 1, 2010) was an American abstract artist [1] who was romantically involved with two prominent American artists of the mid-20th century, Jackson Pollock and Willem de Kooning. . The end of the millennium saw a resurgence of figurative expressionism across the art world; Kligmans came from a place of re-examined tragedy. So he says, Hey, Jeff, how you doing? Jeff says, So far so good. It has been said that American lives have no second acts. Kligman, on the other hand, would become known in art circles for her impressive string of lovers, which included Willem de Kooning Pollocks artistic rival and Jasper Johns, a longtime friend of Kligman to whom she proposed to once. It was an expression from Jackson to me.. Anyone can read what you share. She was 26 and working as an assistant at a small gallery when she met Pollock, who was 44, estranged from his wife, Lee Krasner, and losing his battle with alcoholism. I do think that if I dont look upon life that way I wont know how to keep on being around. When a friend told him, no women were as ferocious as his Women, de Kooning described going to Kleins, an inexpensive department store on Union Square, during a lingerie sale and observing scenes of broad Amazonian comedy around the underwear bins. It came out: In da beginning was da void.. To this day, the images remain disturbing, the most difficult pictures in the American canon to fix with a settled meaning. A first excerpt of the new nonfiction book. Kligman's friend, Edith Metzger -- a 25-year-old who with her family escaped Nazi Germany and who had once met Herman Gring -- was killed. Her art is not demanding attention, nor is there an attempt to convince a viewer of its worth. To begin with, de Kooning had an extraordinary wife. Although Kligman painted works that included the Deman series and Joan of Arc, the painting embroiled in controversy was not one of her own, but Red, Black & Silver the painting believed to be the final work of Pollocks life. 12. She was previously married to Carlos Sansegundo. Rising to the top merely delivered him to the bottom, to a bums wave through a glass window. In Woman and Bicycle, she has two mouths. 2005 DEMONS THE LIGHT, ZONE: Chelsea Center for the Arts, New York, 1988 New York Studio Show, sponsored by Sur Rodney Sur, 1986 M. Donahue Gallery, New York, New York, 1964Gallery International, New York, New York, 1962Thibaut Gallery, New York, New York, 1989-90 Spencer Throckmorton Gallery, Santa Fe, New Mexico, 1987 Wessel OConnor Gallery, Rome, Italy, Richard DeMarco Gallery, Edinburgh, Scotland, 1986Minneapolis Museum of Art, Minneapolis, Minnesota, 1985Kamikazi Gallery, New York, New York, 1984 Shuttle Gallery, New York, New York, 1967 Museum of Modern Art, New York, New York, 1958Martha Jackson Gallery, New York, New York. The genial Franz Kline relished his success (after one big show he bought a Thunderbird), but, despite the warnings of doctors, he couldnt, and wouldnt, resist the partying crowd. When Kligman died in 2010, Red, Black & Silver remained unauthenticated. This qualified attribution did not dampen the houses apparent enthusiasm about Red, Black & Silver: this spring, head of evening sales Zach Miner noted that the tale of Pollocks death was inextricable from the object itself, adding that the tragedy was one of the most mythic moments in the entirety of art history. Asked whether Phillips de Pury believed the painting was a legitimate Pollock work, he replied, We have no reason to believe that its not . Ruth Kligman's unusual and little-known story is interwoven into the history of modern art. The sense of renewal was all the sweeter since the Depression remained fresh in many minds. Design Credit: Jeremiah Brent Design, Photo Credit: Nicole Franzen. Like so many of her peers during the anxious 1950s (which, as today, found New York City pegged on the bulls-eye of a war between ideologies), Kligman had been in psychoanalysisher Monster series seems to have sprung from an unconscious that was never fully allowed to rest. You can just see them on the prows of ships, breaking gigantic ice floes.. Then, in 1948, he had had his first one-man show, of the so-called black-and-white paintings, a bravura performance that seemed to bring the delicacies of Parisian Cubism into the bracing black and white of New York City. Now, a New Book Is Rewriting Art History on Her Terms That husband, of course, was Jackson Pollock. But what is it? At least when seen from afar, as paradise always is. Critics were starting to show up, along with curators and collectors. Studied with Larry Rivers, Gregorio Prestopino, Abraham Rattner, Reginald Marsh and Willem De Kooning. Art never seems to make me peaceful or pure, he once declared. Was she simple the woman who earned the nickname death-car girl from poet Frank OHara after being the sole survivor of the crash that ended the life of the greatest painter of abstract expressionist movement heralded by art critic Clement Greenberg? Just look at the master, Picasso. The most colorful was Ruth Kligman, the woman with whom Pollock had a famous affair. Boards are the best place to save images and video clips. New York in the early 50s was no longer the same demoralized city it had been during the Depression and war years. What seems more interesting, especially for an artist whose lifes work represents such a passionate affair with the female figure, is that de Kooning in the 50s appeared to cover the blocknot like a tomcat but in the way of a man absorbed by all the various roles assigned to women. Kligmans art has a quiet power. She made herself larger than life, a woman who dressed extravagantly, provocatively, maybe a little trashilya great version, in its way, of 50s movie-queen glamour. De Kooning had an affair with Ward in the mid-50s; in 1956 she gave birth to the painters only child, Lisa. The small, unsigned paintinglong owned by artist Ruth Kligman, Pollock's mistress during the last year of his lifewas slated to be a centerpiece element in the auction, with its own. R.C. She was 80 and lived in Manhattan. Sold at Sotheby's New York for $40.4 million in November 2012. He was constantly written about. In the canvases, the brushwork is purposefully exposed, thereby creating a landscape arrangement to the marking. You know, its like the old joke, he would say. As usual with drinking, however, boozing at the Cedar was more fun in the early days. She had no children: information about immediate survivors was not available. As 1949 drew to a close, a startling air of optimism began circulating through the lofts of downtown New York. . The Women also evoked contemporary female imagesnot just the matinee idols but also the dames in big boosting brassieres and spiked heels who were then walking the New York streets, draped in furs from which dangled little withered heads and paws. The arc of Ruth Kligmans life is reflected in the half-century evolution of her art, which spans the moment Irving Sandler christened The Triumph of American Painting and the myriad styles that coexist today. Klines death in 1962 sent de Kooning on a desperate drunk; his worried friends finally found him coatless and trembling on the street. (He often cut out images from magazines.) Recently, Kligmans paintings have gazed back to the quiet of a time before she was bornthe moment when one of the seeds of American paintings triumph began to germinate in a cultivated garden in France: Monets explorations of vision itself, his dissection of shape, figure, ground, and color. All rights reserved. But instead of being billed as by Jackson Pollock, the painting was presented as attributed to Jackson Pollock impacting its value and public interest. And it was in the 50s that de Kooning became an emblematic figurethe first modern-art star. In fact, de Kooning always found fame more difficult than obscurity. Some American critics developed an almost imperial point of view, using words like triumph and heroism. They often had in mind de Kooning, who provided many painters and poets of the 1950s with the preferred model of the major modern artist. There was a distancea beguiling distanceabout de Kooning. Ruth Kligman (1930 - 2010) was active/lived in New York, New Jersey. He also had a kind of existential charm. In America at rush hour, the counterman just lined up the cups and splashed the coffee down the row. He was not a man who could do that. His signature drip paintingswhich he began producing in the late 1940scaptivated the art world. But each also reflected an important and different aspect of de Kooning. As a subscriber, you have 10 gift articles to give each month. The Horus series engages the viewer through broad areas of color that alternately suppress or yield to the writhing black, skeletal frameworks underneath; these are works of tense beauty. Grow your brand authentically by sharing brand content with the internets creators. De Kooning said he started to worry when a large man wearing a sombrero walked in and said, Hi, Im White Eagle. Jackson Pollock, Number 1A, 1948, oil and enamel paint on canvas, 172.7 x 264.2 cm. Some of his friends couldnt help laughing at de Koonings block. But they also knew that after his 1948 exhibition the artist could have settled down into a comfortable blue-chip style. Artist. Kligman was thrown free and suffered serious injuries. Bradley W. and Linda J. Nicholson. A tangled mass of colored pencil lines on onion-skin-paper has a completely unexpected material presence that is defined by the artists hand. Portrait of American artist Ruth Kligman as she stands on a sidewalk near Washington Square Park, New York, New York, May 16, 1959. Pollock's most famous paintings were made during this "drip period" between 1947 and 1950. Artist Ruth Kligman poses for a portrait on the street of South Hampton in 1985 in Long Island, New York. Bill had that quality. Rather than looking toward the figures underpinning much of de Koonings work, Kligmans bold abstractions moved into the wide-open spaces of color-field painting. In Birth (Early Monster), a 7 x 8 oil, an organic shape, like the lithe cross-section of a pelvis, has been brushed onto the canvas, heavy black outlines constraining muted, variegated grays. There were important figures, such as Mark Rothko and Barnett Newman, who were interested in creating an art of almost religious grandeur, of focusing and refining painting; but de Kooning never cared for the smell of a church. Heidi and Nelson Nast. In 2013, the trustees of Kligmans estate continued to help vindicate Kligmans name by working with a forensics expert, Nicholas Petraco, to authenticate Red, Black & Silver. Schapiro admired it. Donna Mandelbaum. However, the painting bared the techniques and movement that Pollock was known for. In 1956, Kligman was in the car crash in which Pollock and another woman died. RUTH KLIGMAN EDUCATION: Studied painting and Art History at the New School for Social Research, New York University and Yale. In those days, they did not drink muchat most, a beer. De Kooning appeared absorbed in larger dramas, both personal and cultural. A naturally reserved man, de Kooning was not the type to dominate a table, but his way of speaking delighted the people around him and helped establish the periods intellectual patois. Covered with dirt. This time the painting is on canvas and large scale. Dragons. when it worked it was an epiphany.. To most artists at the party, de Kooning was already considered first among equals, the one who, in the vulgar sweepstakes of history, was thought to have the best shot at claiming the next half-century. A friend encouraged him to settle in East Hampton, but de Kooning didnt care for fancy moneyed people. She had traveled to Europe to get away from Pollock, who had become involved with a much younger artist, Ruth Kligman, who was in her twenties. To revist this article, visit My Profile, then View saved stories. With the authenticity of the painting still in question, we ask did Kligman, a woman who made it her mission to date all the greats, attempt to dupe the world to fuel her narcissism and capitalize from the artworks potential value? Like Picasso, de Kooning never disappointed a camera. Works such as Blue Poles (1952), generated enormous media attention, and turned Pollock into a celebrity beyond the scope of the art world. It is the right time to place Ruth Kligman properly in art history. De Kooning embraced the cityhe relished the news-stands, the cracks in the sidewalks, the billboards and lightsand helped establish the Village pride of the downtown artists. Vanity Fair may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. As well as Red, Black & Silver, her estate included more than 700 artworks and letters from lovers and friends, including. No work has gone up for sale at public auction to date. Alcohol at first seemed a liberator, a way to celebrate after the Depression and the war. Kligman, on the other hand, believed that she was the victim of an elite art-world clique honoring a personal vendetta against her on behalf of Krasner. Ruth Kligman was born on January 25, 1930 in Newark, New Jersey, USA. Abstract markings. The painter Brice Marden called de Koonings way of talking about art the ruling koans of the period. That story about the completion of Woman Iwhich comes in several variationsis remembered because it captures a certain flair, or style, important to the 50s. And while she sustained some serious injuries, she would go on to fully recover. De Koonings Women seemed to capture much of what excited artists and intellectuals in the 50s. In 1943, he had married a beautiful and high-spirited woman named Elaine Fried. One hears chords in the distance not quite dissonant and haunting. The Horus series engages the viewer through broad areas of color that alternately suppress or yield to the writhing black, skeletal frameworks underneath; these are works of tense beauty. The question was always what he would do with his hand. By the early 50s, Pollock, whom de Kooning acknowledged as the first to break the ice, was sinking into a painful, sodden, and sometimes violent alcoholism. He hated to leave anything out. For the impoverished artists of the 30s and 40s, largely ignored by the outside world, alone in their studios without telephones or television, talking together was essential. A man of de Koonings spirit and intelligence, she says, would not have hung around for long with a bimbo. Part of the American assertion against the intellectual hegemony of Europe consisted in talking about ideas in this way. After a days work, it seemed wonderful to take a stroll, in the de Kooning way, through New York. 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