論文摘要
抽象表現主義最重要的藝術家之一，荷裔美籍的畫家德庫寧，他在1950年開始創作的第三系列「女人」繪畫，是受到了歐洲藝術如：安格爾的古典繪畫、立體主義、蒙德理安、超現實主義等思想的啟發，綜合這些繪畫風格後而形成的。第三系列「女人」繪畫的形像來源則受到四個不同方面的影響：包括美索不達米雅的雕像、以葛楚特‧斯坦為首的作家之著作中人物、妻子伊蓮娜與母親卡娜利和當代的廣告媒體人物。
第三系列「女人」繪畫在展出後，引發了評論者的口誅筆伐，最主要的爭議點，便是「女人」系列繪畫擁有介於具象/抽象、暴力/滑稽、完成/未完成的相互矛盾的特點。其中德庫寧具象的藝術觀，是他得以悠游於抽象、具象的關鍵因素。而抽象表現主義中，「動作畫家」以即興的方式，展現藝術家個人的經驗與性格，並將繪畫過程提昇為主題的思想，配合他所使用的特殊材質，則是德庫寧「女人」繪畫始終在「完成」與「未完成」間擺盪的因素。
在繪畫內容方面，「女人」繪畫看似混亂、複雜的畫面中，德庫寧其實傳達了更為深刻的訊息：畫中的「女人」，不僅是個單純的繪畫圖像，「她」其實是當時美國女性的圖騰，呈現了當代女性對於「自我定位」的焦慮。也傳達了二十世紀中的美國人們，對既有價值崩潰所帶來心理上之不確定感；而另一方面，德庫寧的第三、第四系列「女人」繪畫和社會、文化脈絡緊密相連，結合了通俗文化與純藝術，不僅啟發了後來的藝術家，也為日後的普普藝術埋下發展的契機。

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