O SÉCULO PRODIGIOSO

A arte no século XX

Evergood, Philip - Social-Realismo



Girl with Dog, n.d.
Oil on board
16x12"
Private collection



Boy Eating Pears, n.d.
Oil on canvas
20 x 20-1/8 x in (50.8 x 51.1 x cm)
The Mary and Earle Ludgin Collection



Self-Portrait, 1919
Oil on fiberboard
6 1/2 x 8 1/2 in (16.5 x 21.6 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Woodland Romance, ca. 1926-1931
Etching on paper
plate: 3 7/8 x 5 3/4 in. (9.8 x 14.6 cm)
Smithsonian American Art Museum, Washington D.C.



The New Lazarus, 1927
Oil on canvas
Whitney Museum of American Art, New York



Scene in Babylon, 1928
Watercolor and pencil on paper
13 1/8 X 18 1/8 in (sight) (33.3 X 46.0 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Madonna of the Mines, 1932
Oil on canvas
Orange County Museum of Art, Newport Beach, California



North River Jungle, 1933
Pencil on paper
18 7/16 X 22 7/8 in (46.8 X 58.1 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Nude By The El, 1933
Oil on canvas
37 3/8 X 42 7/8 in (94.9 X 108.9 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Marathon of dance, 1934
Oil on canvas
152x101 cm
Austin University Art Gallery, Austin



Workers Houses, Flushing Bay, 1935-1945
Oil on canvas
18 x 28 in (45.7 x 71.1 cm)
Smithsonian American Art Museum, Washington D.C.



Early Youth of Babe Ruth (Old North Beach Amusement Park), ca. 1939
Oil on canvas
20 x 24 in (50.8 x 60.9 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Half Asleep, 1939
Ink and pencil
13 3/4 x 17 in
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Libby & the Sparrows, 1939
Oil on canvas
Whitney Museum of American Art, New York



Through the Mill, 1940
Oil on canvas
Whitney Museum of American Art, New York



Horizons, ca. 1940-1944
Oil on canvas
16 X 11 7/8 in (40.4 X 30.1 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Turmoil, ca. 1941-1942
Oil on canvas mounted on fiberboard
24 1/4 x 20 3/8 in (61.5 x 51.6 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Fascist Company, 1943
Oil on canvas
12.1 x 17.8 inches
Private collection



Australia, from the United Nations Series, 1945
Gouache on prepared paper
21 1/8 x 18 1/8 in (53.7 x 45.9 cm)
Smithsonian American Art Museum, Washington D.C.



Cup of Tea, 1946
Oil on canvas
33 x 25 1/2 inches
Private collection



Irate Rooster, 1948
Oil on canvas
Image: 25 1/4 x 18 1/4 in. (64.1 x 46.4 cm) Frame: 31 1/8 x 24 3/8 in. (79.1 x 61.9 cm)
Terra Foundation for American Art, Chicago



Girl and Soulful Cow, 1948
Oil on canvas
16 x 12 1/4 inches
Private collection



Passing Show, 1951
Oil on canvas mounted on masonite
Image: 65 1/2 x 48 in. (166.4 x 121.9 cm) Frame: 73 3/4 x 56 3/16 in. (187.3 x 142.7 cm)
Terra Foundation for American Art, Chicago



Dowager in a Wheelchair, 1952
Oil on fiberboard
47 7/8 x 36 in (121.5 x 91.4 cm.)
Smithsonian American Art Museum, Washington D.C.



Put to Pasture, 1954
Brush & ink, brush & colored ink, gouache and charcoal on paper
37 3/4 X 25 in (95.9 X 63.5 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



The Dowager, 1955
Oil on fiberboard
18 1/8 X 12 in (45.9 X 30.5 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Woman at the Piano, 1955
Oil on canvas
60 x 36 in (152.5 x 91.5 cm.)
Smithsonian American Art Museum, Washington D.C.



Alone, 1955
Oil on canvas
107.95 x 80.01 cm (42 1/2 x 31 1/2 in.)
Museum of Fine Arts, Boston



Self-Portrait ("We are Such Stuff as Dreams are Made on"), 1956
Oil on fiberboard
23 7/8 X 18 in (60.6 X 45.5 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Self-Portrait, 1960
Oil on canvas mounted on Masonite
15 1/4 x 11 3/8”
University of Kentucky Art Museum



Conversation, 1961
Charcoal on paper
26 13/16 X 20 15/16 in (68.1 X 53.1 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Self Portrait with Hat, 1961
Lithograph
Indianapolis Museum of Art, Indiana



End of the Trail II, 1962
Charcoal, sepia ink and watercolor on paper
17 1/2 x 22 in (44.5 x 55.9 cm)
Smithsonian American Art Museum, Washington D.C.



Children and Very Giant Squash, c. 1962
Oil on canvas
24" x 20"
Private collection

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Em "Marathon of dance, 1934", casais exaustos a competir por um prémio de mil dólares numa maratona de dança - uma mania que varreu a América dos anos 30 do século passado - aguentam-se em pé , determinados a assim permanecerem durante mais tempo que os avdersários. Uma placa de fundo indica que a competição dura há 49 dias. No período da Grande Depressão, muitos desempregados eram levados a tentar a sua sorte nesses concursos, acabando muitas vezes no hospital devido à exaustão. Ao distorcer a fisionomia e os trajes dos concorrentes, Evergood evidencia o seu desprezo pelo tema e a compaixão pelas personagens. Evergood empenhou-se numa arte dirigida para as experiências das pessoas comuns. Tal como muitos outros americanos nos anos 30, rejeitou a bastracção em prol de quadros influenciados pelos ideais socialistas, encarando a arte como forma de protesto. A sua obra combina imagens fantásticas e bizarras com os temas realistas e quotidianos, oferecendo um retrato original da América nos anos 30. Philip Evergood nasceu em Nova Iorque (EUA) em 1901 e morreu em Bridgewater, CT (EUA) em 1973.
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The paintings of American artist Philip Evergood (1901-1973), especially those executed during the 1930s, reveal his concern for social causes; although realistic, they are also marked by elements of fantasy.
Philip Evergood, whose real name was Philip Blashki, was born in New York City on October 26, 1901. He was the son of an unsuccessful Polish painter who had come to America from Australia. After attending boarding schools in England, Blashki graduated from Eton in 1919. He changed his name to Evergood because British Prime Minister Winston Churchill had written that Anglo-Saxons were full of prejudice. When Evergood discovered that he wanted to be an artist, he left Cambridge University to study drawing under Henry Tonks, head of the Slade School of Fine Art, London. In 1923 Evergood returned to America, where he studied with George Luks at the Art Students League in New York City, and then went to Paris, where he attended the Académie Julian. He went back to New York in 1926. In 1927 he held his first one-man show in New York and exhibited frequently thereafter. In 1929 Evergood returned to France. In 1931, traveling through Spain, he was impressed by the work of El Greco. That year he also married the dancer Julia Cross. In America during the 1930s Evergood painted huge murals under the auspices of the Federal Arts Project, such as the Story of Richmond Hill (1936-1937). In 1936 he moved to Woodstock, NY, and that year he took part in the "219" strike protesting layoffs from the Federal Arts Project. In 1952 he moved to Southbury, CT. He died in Bridgewater, CT on March 11, 1973. Evergood has been classified as an expressionist, a social realist, and a surrealist. To some degree, all the labels are appropriate. His work, turning on social causes especially during the 1930s, is marked throughout by strong elements of fantasy and the bizarre. He acknowledged the influence of painters Mathias Grünewald, Pieter Bruegel, Hieronymus Bosch, and El Greco and the graphic work of Francisco Goya, Honoré Daumier, and Henri de Toulouse-Lautrec. But his art is also closely tied to reality and often deals with actual events, as in the Burial of the Queen of Sheba (1933), which shows Evergood and his wife illegally burying their cat in a backyard. In My Forebears Were Pioneers (1940), Evergood pictures a staunch old woman sitting placidly in her rocking chair before huge, uprooted trees and her picturesque 19th century house. The scene was based on a woman he had encountered while driving in the countryside. In Enigma of the Collective American Soul (1959), Evergood combines the grotesque with social commentary by juxtaposing portraits of U.S. President Dwight Eisenhower and Churchill with an insipid beauty contest winner, while in a corner of the painting two small boys steal a smoke.
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This entry was posted on Sexta-feira, Junho 05, 2009 at 9:08 PM. You can skip to the end and leave a response.

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