If Elaine [Fried, whom de Kooning married in 1943] found it strange to return directly to work on her wedding day, she never said so. That was the way of life on Twenty-second Street: every woman in de Kooning's life from Nini onward could attest that he was already married to his work. During the time when Elaine was commuting back and forth to Brooklyn, de Kooning's days were devoted to art, and they continued to be so after she moved in permanently. Typically, the couple rose late in the morning. Breakfast consisted mostly of very strong coffee, cut with the milk they kept in winter on a window ledge; they did not have a refrigerator, an appliance that in the early forties was still a luxury. (So was a private phone, which de Kooning would not have until the early sixties.) Then the day's routine began with de Kooning moving to his end of the studio and Elaine to hers. Work was punctuated by more cups of strong coffee, which de Kooning made by boiling the coffee as he had learned to do in Holland, and by many cigarettes. The two stayed at their easels until fairly late, taking a break only to go out for something to eat or to walk up to Times Square to see a movie. Often, however, de Kooning, who hated to stop working, began again after supper and pushed far into the night, leaving Elaine to go to a party or concert. "I remember very often walking by and seeing the lights on and going up," said Marjorie Luyckx. "In those studios, the heat used to go off after five o'clock because they were commercial buildings. Bill would be painting with his hat and coat on. Painting away, and whistling."
Mark Stevens and Annalyn Swan, de Kooning: An American Master