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Willem de Kooning was a painter born in Rotterdam, Netherlands. De Kooning painted in a style that has been referred to as action painting or the abstract expressions. De Kooning was the most protuberant and distinguished of all the expressionist painters. All his painting work epitomizes the passionate gestural style of movement. De Kooning actually did more than any of all his colleagues to develop a fundamentally abstract style of painting that essentially fused surrealism, cubism and expressionism. Even though he established his esteem through abstract pictures of women he painted during his life, he later twisted to scenery paintings, which were also highly commended (Kleiner 12).

Henri Matisse was a French-born artist. He was essentially respected for his reputable use of color in his simple patterns along with his mastery of the communicative language of drawing and color. Henri Matisse’s reputation in painting is principally due to his extensive use of color. He painted things using color that no one had done before. ‘The Red Studio,’ which he painted in 1911, is extremely crucial in his painting work because of its flattened perspective, the use of color and his altering of reality and perception of space. ‘The Red Studio’ was painted after his exposure to the traditional Islamic art during one of his visits to Spain. This visit actually influenced his use of decoration, pattern and depiction of space. It is worthwhile to note the Willem de Kooning and Henri Matisse’s painting work can be compared through the use of formal structure that are largely expressed in each of these paintings (Stokstad 56).

 

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In the early 1940, De Kooning regularly painted women art. This women painting caused a lot of sensation, because it was remarkably figurative and had unconcealed imagery in comparison with those of most of his fellow abstract expressionists. His aggressive brushwork and strategic placement of key colors in his painting perfectly merged with the images of the toothy snarls, enlarged eyes, pendulous breasts and pesky edges to reveal matching with modern man’s extensively held sexual fears.

De Kooning’s painting work size seems to oppose the constraint imposed by naming movements; he never fully abandoned the representation of the human figure. His ‘Woman I’ painting featured an exceptional blend of gestural figuration and abstraction that is in point of fact influenced by the cubism of the Picasso. In his ‘Woman I’ painting, De Kooning becomes dominant at obscurely blending figure and ground in his painting pictures while disarticulating, distorting and reassembling his figure in the course.

Henri Matisse made a distinction between the floor and the wall with one line, and he outlined the table with another. The third line was used to depict the outline of the stool. Most of this line was on white with some areas having a yellow or a blue hue. This white painting literally added interest to the line and some slight propositions of depth without detracting its efficacy and simplicity. Henri Matisse’s choice of color seems to be extensive as compared to Willem De Kooning’s painting work (Beck 98).

De Kooning ‘Woman I’ painting left logic of vibrant incompletion as if all the forms in the work were still a process of moving, coming and settling into definition. In this logic, his painting color typified action painting rather than completed art work in old Beaux Arts custom of satisfactory painting. Even though his painting work personifies the widely held image of the bold, his ‘Woman I’ series appears to be painted with angry strength. The application of the paint in the ‘Woman I’ painting work indicated that De Kooning approached this art with a careful thought. ‘Woman I’ painting work makes many alleged that he possessed the greatest polish techniques that compare to that of an old master.