In the late 1970s, Paul first met Willem de Kooning, still a sprightly man in his mid 70s. The conne

In the late 1970s, Paul first met Willem de Kooning, still a sprightly man in his mid 70s. The conne
In the late 1970s, Paul first met Willem de Kooning, still a sprightly man in his mid 70s. The conne
In the late 1970s, Paul first met Willem de Kooning, still a sprightly man in his mid 70s. The conne
In the late 1970s, Paul first met Willem de Kooning, still a sprightly man in his mid 70s. The conne
In the late 1970s, Paul first met Willem de Kooning, still a sprightly man in his mid 70s. The conne
In the late 1970s, Paul first met Willem de Kooning, still a sprightly man in his mid 70s. The conne
In the late 1970s, Paul first met Willem de Kooning, still a sprightly man in his mid 70s. The conne
In the late 1970s, Paul first met Willem de Kooning, still a sprightly man in his mid 70s. The conne

In the late 1970s, Paul first met Willem de Kooning, still a sprightly man in his mid 70s. The connection goes back years, as Linda McCartney’s father, Lee Eastman, was de Kooning’s long-standing lawyer and close family friend, often bringing in special visitors, often including Linda and Paul, to see the ageing artist. And it was visiting his studio one day, to watch him mix colours and paint, that got McCartney hooked on de Kooning’s process itself. Unlike music there were no rules in abstract painting, so it must have felt liberating for Paul: perhaps, with its luscious colours and strident brush strokes, McCartney’s abstract works, such as ‘Key of F’ and 'Robot and Star’ [photos #7 and #8, respectively] carry a little of Willem de Kooning on to this day. PAUL: “I was lucky enough to know Willem de Kooning because Linda’s father, Lee Eastman Snr., was his lawyer. We would visit his studio in Springs, Long Island and admire his works in progress. I once asked him what one of his abstract pictures was and he said he didn’t know and that it was open to my interpretation. I thought it looked like a purple mountain, he thought it looked like a couch! The point was that his painting was more to do with composition, colour and style rather than anything of significant meaning. Once he’d said this it was a great inspiration to me to start painting, where as in the past I would have been too embarrassed to even buy a canvas and paints. Friends of mine had looked at de Kooning’s paintings and said, 'I could do that,’ but in fact this is far from true and I consider him to be one of the greatest abstract painters ever.” -- source link


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