Hedy B. Landman, European and American art from Princeton alumni collections, (Princeton, NJ: Art Museum, Princeton University, 1972).
","citation":"Hedy B. Landman, European and American art from Princeton alumni collections, (Princeton, NJ: Art Museum, Princeton University, 1972).
, P. 141, no. 116 (illus.)","date":1972,"id":568,"uri":"https://search.worldcat.org/title/403016"},{"boilertext":"\"Acquisitions of the Art Museum 1990,\" Record of the Art Museum, Princeton University 50, no. 1 (1991): p. 16-69.","citation":"\"Acquisitions of the Art Museum 1990,\" Record of the Art Museum, Princeton University 50, no. 1 (1991): p. 16-69., p. 18, p. 20 (illus.)","date":1991,"id":1866,"uri":"https://www.jstor.org/stable/3774743"},{"boilertext":"Allen Rosenbaum and Francis F. Jones, Selections from The Art Museum, Princeton University, (Princeton, NJ: The Art Museum, Princeton University, 1986)","citation":"Allen Rosenbaum and Francis F. Jones, Selections from The Art Museum, Princeton University, (Princeton, NJ: The Art Museum, Princeton University, 1986), p. 292","date":1986,"id":1899,"uri":"https://search.worldcat.org/title/14244748"},{"boilertext":"Harold Rosenberg, De Kooning, (New York: Abrams, 1974)","citation":"Harold Rosenberg, De Kooning, (New York: Abrams, 1974), Pl. 57","date":1974,"id":3456,"uri":"https://search.worldcat.org/title/703233"},{"boilertext":"John Elderfield, Lauren Mahoney, et. al., De Kooning: A Retrospective, (New York: Museum of Modern Art, 2011)","citation":"John Elderfield, Lauren Mahoney, et. al., De Kooning: A Retrospective, (New York: Museum of Modern Art, 2011)","date":2011,"id":1187,"uri":"https://search.worldcat.org/title/870140557"},{"boilertext":"Norman L. Kleeblatt, Action/abstraction: Pollock, de Kooning and American art, 1940-76, (NY: Jewish Museum; New Haven: Yale Univesity Press, 2008).","citation":"Norman L. Kleeblatt, Action/abstraction: Pollock, de Kooning and American art, 1940-76, (NY: Jewish Museum; New Haven: Yale Univesity Press, 2008)., Pl.15, 58, illus.","date":2008,"id":506,"uri":"https://search.worldcat.org/title/181424121"},{"boilertext":"Sally Yard, \"The Angel and the Demoiselle: Willem de Kooning's Black Friday,\" Record of the Art Museum, Princeton University 50, no. 2 (1991): 2–25.","citation":"Sally Yard, \"The Angel and the Demoiselle: Willem de Kooning's Black Friday,\" Record of the Art Museum, Princeton University 50, no. 2 (1991): 2–25., pp. 3–4, figs. 2–3 (illus.)","date":1991,"id":3092,"uri":"https://www.jstor.org/stable/3774720"},{"boilertext":"Princeton University Art Museum: Handbook of the Collections (Princeton, NJ: Princeton University Art Museum, 2013)","citation":"Princeton University Art Museum: Handbook of the Collections (Princeton, NJ: Princeton University Art Museum, 2013), p. 270","date":2013,"id":1994,"uri":"https://search.worldcat.org/title/865020505"},{"boilertext":"Willem De Kooning and David Whitney, Willem de Kooning: a centennial exhibition, (New York: Gagosian Gallery, 2004).","citation":"Willem De Kooning and David Whitney, Willem de Kooning: a centennial exhibition, (New York: Gagosian Gallery, 2004)., p. 33 (illus.)","date":2004,"id":168,"uri":"https://search.worldcat.org/title/55961908"},{"boilertext":"Mark Stevens and Annalyn Swan, De Kooning: An American Master (New York: A. A. Knopf, 2004).","citation":"Mark Stevens and Annalyn Swan, De Kooning: An American Master (New York: A. A. Knopf, 2004)., 250, 251, 261, 380","date":2004,"id":193,"uri":"https://search.worldcat.org/title/54817142"},{"boilertext":"Ellen G. Landau, Reading Abstract Expressionism: context and critique, (New Haven, CT, London: Yale University Press, 2005)What we call “content,” de Kooning said of his paintings, is an “occurrence” seen in “fleeting glimpses.” Here are glimpses of a roof at top left; a finger that loops down into the upper center; eye—or breast—shapes at lower left; a table or a
figure with a round head standing on the bottom edge. And so it goes on. Few definitive recognitions are allowed; many possible ones encouraged. Representation is placed under stress by marks with a life of their own. Made with a mixture of oil paint and fluidly flowing black enamel, they conceal most of the brighter colors—and perhaps more specific images—with which de Kooning began his composition.
John Elderfield, Allen R. Adler, Class of 1967, Distinguished Curator and Lecturer, emeritus
","remarks":"MOD_09-12_WLA – Day 1 Cataloguing"},{"texttype":"Online","textpurpose":"Provenance","textentryhtml":"Willem de Kooning, New York, New York, sold; to H. Gates Lloyd, and Eleanor B. Lloyd, Haverford, Pennsylvannia, gift; to Princeton University Art Museum, 1976.","remarks":"as per "},{"texttype":"Online","textpurpose":"Handbook Entry","textentryhtml":"\r\nWillem de Kooning was a member of the New York-based Abstract Expressionists. During and after World War II, the city’s artistic community absorbed European émigrés, such as the abstract painter Piet Mondrian and the Surrealist Max Ernst, as well as new avenues of thought, including existentialism and psychoanalysis. From this heady brew, de Kooning sought to make something of a piece with the turbulent times in which he was painting. Many of the Abstract Expressionists made major breakthroughs in 1947 and 1948, de Kooning included. Black Friday was featured in the artist’s first solo exhibition in New York in April 1948. Comprised, like most of its companions, of tightly interwoven black and white shapes, with accents of color in the center and lower right corner, Black Friday exploits the formal and emotional power of its restricted palette. It also pits abstraction against representation: clustered among otherwise non-objective forms are a building and a finger. The painting’s title conjures up a host of disquieting associations, from the economic crises of 1869 and 1929 to the Passion, more commonly called Good Friday but also known as Black Friday. ","remarks":null},{"texttype":"Online","textpurpose":"Campus Voices","textentryhtml":"This quintessentially American masterpiece, an emblem of the New York avant-garde, was painted by an undocumented alien who jumped off a cargo ship in Virginia and skirted immigration laws. The most discernible among the intransitive shapes of Black Friday—a locution that has only more recently begun to Americanize the world of mass consumption—are walls with roofs: homes. These vertical silhouettes remind us of what America, as a destination, meant when New York was the world’s capital of painting.
\r\nAlessandro Giammei, Cotsen Fellow and Lecturer, Italian and French