Willem de Kooning's abstract landscapes, created from the mid-1950s through to the 1960s, mark a shift from his earlier, more figurative works such as the "Woman" series.

These paintings were heavily influenced by de Kooning's move from Manhattan to East Hampton, Long Island in 1963, where he was surrounded by pastoral scenes and the nearby sea. The rural surroundings provided a stark contrast to the urban environment of New York City, and this shift had a profound impact on his work.

His landscapes from this period are typically characterized by their loose, flowing lines and the interplay of bright and muted colors, suggesting natural forms and movements without directly depicting them. Elements of these works can be read as allusions to paths, bodies of water, and other natural features, but they largely resist easy interpretation.

Titles like "Rosy-Fingered Dawn at Louse Point" and "Montauk Highway" suggest specific locations, but the paintings themselves are far from traditional landscape art. Instead, they use the language of abstraction to evoke the sensation and experience of the landscape.

This series is a clear demonstration of de Kooning's statement that "flesh was the reason why oil painting was invented," as his handling of the landscape echoes the sensuousness of his earlier figure paintings. Despite their departure from figuration, these works retain the energetic brushwork and sense of dynamism that are hallmarks of de Kooning's style.

The abstract landscapes represent a significant phase in de Kooning's career, demonstrating his ability to apply his vigorous style to a variety of subjects and themes. They continue to be celebrated for their contribution to the Abstract Expressionist movement and their influence on later generations of artists.