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The poured and flung paint seen throughout willem de kooning's woman and bicycle is also characteristic of

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Willem de Kooning (1904–97) used action painting in the service of explicit aggression. This is particularly true of the series of pictures of women that de Kooning painted in the early 1950s. Unlike Pollock and Kline, de Kooning only partially eliminated recognizable subject matter from his iconography until late in his career.

Woman and Bicycle of 1952–53 combines the frontal image of a large, frightening woman with violent brushstrokes tearing through the figure’s outline.It reveals the influence of Cubist geometry —matches the frenzy of the brushstrokes. The assault on the figure, which seems to disintegrate into unformed paint, is also an attack on the idealized Classical image of female beauty.

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