In the collection of the Fogg Museum at Harvard University, shows the influence of Joan Miro and Arshile Gorky on de Kooning in the late 1930s.
On loan from the Albright-Knox Art Gallery, is an example of the artist’s urban landscapes from the 1950s.
From MoMA’s own collection, demonstrates the artist’s late style, when he was prolific even in fading health.
A 1952 pastel from the Museum of Contemporary Art, Los Angeles, shows the artist’s preparatory work on paper for one of his defining series.
A bronze sculpture from 1972, shows the effect the move to Springs had on the artist’s subject matter.
From 1950, which is in the collection of the Art Institute of Chicago, shows the influence of de Kooning’s peers in its all-over movement and the immensity of the more than 12-foot-wide canvas.