Quarta-feira, Junho 24, 2009
Playa, 1950
Oil on canvas
86,4 x 81,3 cm
Private collection
Painted on 21st Street, 1950-1951
Oil, sand, plaster of paris and coffee grounds on sized and primed canvas
69 1/8 X 97 in (175.6 X 246.4 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Untitled, 1951
Oil on canvas
143,2 x 214,6 cm
Private collection
Mountains and Sea, 1952
Oil on canvas
7 ft 2 in x 9 ft 9 in
National Gallery of Art, Washington D.C.
Round Trip, 1957
Oil on canvas
178,5 x 178,5 cm
Private collection
Interior, 1957
Oil on canvas
177,8 x 218,4 cm
Private collection
Basque Beach, July 1958
Oil and charcoal on canvas
58 5/8 X 69 5/8 in (148.8 X 176.8 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Acres, 1959
Oil on unprimed canvas
236,2 x 238,8 cm (93 x 94 inches)
Guggenheim Berlin
April IV, c. 1960
Oil on canvas
35.5cm x 42.4cm
Cleveland Museum of Art, Ohio
Summerscene, Provincetown, 1961
Acrylic on canvas mounted on paperboard
20 x 24 in. (50.9 x 61.0 cm)
Smithsonian American Art Museum, Washington D.C.
Moving Day, 1961
Oil on canvas
68 7/8 X 60 1/8 in (174.8 X 152.7 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Blue Form in a Scene, 1961
Oil on canvas
95 x 91 1/2 inches (241.3 x 232.4 cm)
Private cxollection
May 26, Backwards, 1961
Color lithograph on paper
31 1/8 x 22 1/2 in (79 x 57.1 cm)
Smithsonian American Art Museum, Washington D.C.
Untitled, 1963
Acrylic on paper
14” x 17”
Wake Forest University Fine Arts Gallery, Winston-Salem, North Carolina
Buddha's Court, 1964
Acrylic on canvas
98 x 94 inches (248.9 x 238.8 cm)
Private collection
Provincetown, 1964
acrylic on canvas
14 1/2 x 14 1/2 inches (36.8 x 36.8 cm)
Private collection
Small's Paradise, 1964
Acrylic on canvas
100 x 93 5/8 in. (254.0 x 237.7 cm.)
Smithsonian American Art Museum, Washington D.C.
Persian Garden, 1965-1966
Color lithograph on paper
25 7/8 x 20 1/8 in (65.8 x 51.0 cm)
Smithsonian American Art Museum, Washington D.C.
Mauve District, 1966
Synthetic polymer paint on canvas
261.5 x 241.2 cm.
The Museum of Modern Art. New York
Indian Summer, 1967
Acrylic on canvas
93 1/2 X 93 5/8 in (237.5 X 237.8 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Variation II on Mauve Corner, 1969
Lithograph, 6/21
10 1/8 x 25 1/8”
Mildred Lane Kemper Art Museum, St. Louis, Missouri
Blessing of the Fleet, 1969
Acrylic on canvas
126 x 103 3/8 in. (320.0 x 262.5 cm)
Smithsonian American Art Museum, Washington D.C.
Coral Wedge, 1972
Acrylic paint on canvas
81 1/2 x 46 1/2 inches
Kemper Museum of Contemporary Art, Kansas City, Missouri
Nepenthe, 1972
Color aquatint on paper
15 5/8 x 24 1/4 in. (39.8 x 61.7 cm)
Smithsonian American Art Museum, Washington D.C.
Living Edge, 1973
Acrylic on canvas
117 1/2 x 67 inches (298.5 x 170.2 cm)
Private collection
Untitled, 1973
Acrylic on canvas
20 x 25 1/2 inches (50.8 x 64.8 cm)
Private collection
Robinson's Wrap, 1974
Acrylic on canvas
5' 10" x 7' 10"
Private collection
Desert Pass, 1976
Acrylic on canvas
39 x 54 in (99.1 x 137.2 cm)
Smithsonian American Art Museum, Washington D.C.
Viewpoint II, 1979
Acrylic on canvas
81 1/4 X 94 1/2" (206.38 X 240.03 cm)
Signed, lower right
Butler Institute of American Art, Ohio
Untitled, 1980
Acrylic on paper
22 1/4 x 31 inches (56.5 x 78.7 cm)
Private collection
Cameo, 1980
relief
colour woodcut printed from five woodblocks
grey-pink, wove, handmade, TGL paper
comp 107.0 (h) x 81.6 (w) cm
sheet 107.0 (h) x 81.6 (w) cm
frame 114.0 (h) x 88.6 (w) x 4.2 (d) cm
National Gallery of Australia, Canberra
Untitled, 1982
Acrylic on canvasboard
5 x 7 in. (12.7 x 17.78 cm)
Oklahoma City Museum of Art, Oklahoma
Cedar Hill, 1983
Color woodcut on paper
Sheet: 20 3/8 x 25 1/8 in. (51.7 x 63.9 cm) irregular
Smithsonian American Art Museum, Washington D.C.
Square One, 1985
Acrylic on canvas
78 x 51 inches (198.1 x 129.5 cm)
Private collection
Captain's Watch, 1986
acrylic on canvas
76 3/4 x 58 3/4 in.
Ackland Art Museum at the University of North Carolina
Freefall, 1992
pressed TGL hand-made paper pulp, acrylic gel, and acrylic paint
sheet: 177.8 x 147.3 cm (70 x 58 in) framed: 209.6 x 163.8 cm (82 1/2 x 64 1/2 in)
National Gallery of Art, Washington D.C.
All about blue 1994
planographic, relief
colour lithograph and woodcut printed from six aluminium plates and one woodblock
natural, handmade, triple layer, Kozo fibre paper
comp and sheet 123.0 (h) x 73.2 (w) cm
National Gallery of Australia, Camberra
The Other Side of the Moon, 1995
Acrylic on paper
5'-10½" x 5'-4"
Private collection
Tales of Genji VI, 1998
21-color woodcut on handmade TGL rose paper
47 x 42 in. (119.4 x 106.7 cm)
Smithsonian American Art Museum, Washington D.C.
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Em "The Other Side of the Moon, 1995", um círculo vermelho, possivelmente um símbolo da lua, encontra-se rodeado de uma rede de linhas, seguindo o seu caminho através do papel. O esquema das intensas cores púrpura, azul e verde atribui a esta obra um carácter meditativo. Apesar de ser abstracto na forma, o título deste quadro sugere a representação do mundo natural. Frankenthaler foi casada com o espressionista abstracto Motherwell, mas independentemente da sua proximidade com o movimento, a sua técnica era bastante distinta: aplicava o pigmento sobre a tela ou o papel, evitando a utilização do pincel. O seu método de tingir a tela não esticada com tinta para atingir efeitos imediatos e transparência inspiraram Noland e Louis, aoós uma visita ao seu estúdio. O uso fluido da cor percorre a sua obra e os seus grandes quadros dos anos 60 levam esta ideia até ao limite, ao arrastar pequenas tiras de cor para as extremidades da tela, deixandop o centro vazio. Frankenthaler foi aluna de Tamayo, sendo a sua obra variada mais serena e translúcida que a dos seus contemporâneos. Helen Frankenthaler nasceu em Nova Iorque (EUA) em 1928.
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Helen Frankenthaler was born in New York in 1928 where she was to spend most of her life. She studied at a number of art schools and was taught at one stage by Hofmann. By 1950 she had met many of the main figures of Abstract Expressionism. In 1958 she married the painter Robert Motherwell. Frankenthaler became the first American painter after Jackson Pollock to see the implications of the color staining of raw canvas to create an integration of color and ground in which foreground and background cease to exist. "Mountains and Sea" (1952) Frankenthaler's first "stained painting," marked a turning point in her career. According to the critic, Clement Greenberg, this painting was the 'first monument of Post-Painterly Abstraction,' and it is certainly one of the most important works in the 'Colour-Field' style. In "Mountains and Sea", Frankenthaler poured paint directly onto the unprimed surface of a canvas, allowing the color to soak into its support, rather than painting on top of an already sealed canvas as was customary. This highly intuitive process, known as "stain painting," became the hallmark of her style and enabled her to create color-filled canvases that seemed to float on air. Frankenthaler employs an open composition, frequently building around a free-abstract central image and also stressing the picture edge. The irregular central motifs float within a rectangle, which, in turn, is surrounded by irregular light and dark frames. These frames create the feeling that the center of the painting is opening up in a limited but defined depth. She took from Pollock the notion of fusing drawing and painting, translating this idea into her own suggestive, mysterious calligraphy. In 1960 Frankenthaler made her first prints. Since then, she has worked with a variety of printmaking techniques in addition to painting, using each of these media to explore pictorial space through the interaction of color and line on a particular surface. One of her most successful prints is "Essence Mulberry " (1977) inspired by an exhibit of medieval prints at the Metropolitan Museum of Art. Helen Frankenthaler's art is held in the collection of every major museum of modern art. The stain technique she made famous is still an integral part of her work and it can be seen running through her entire oeuvre. Although the paintings are abstract, a strong suggestion of landscape is often apparent, and they have been praised for their lyrical qualities.
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Segunda-feira, Junho 15, 2009
Seated Woman, nd
Terra cotta.
20 x 8 x 4 1/2 in
Delaware Art Museum, Wilmington, Delaware
Sorrow, 1909
Painted wood
9 X 2 1/2 X 1 1/2 in (22.6 X 6.3 X 3.7 cm)
On artist's wood base: 1/4 X 5 1/2 X 4 1/2 in
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Suzanne, 1909
Limestone
15-3/8 x 10 x 8-5/8 in (39.0 x 25.4 x 21.9 cm)
Norton Simon Museum, Pasadena, California
Seated Female Nude (Black Torso), 1909-11, cast by 1926
Bronze
15 X 5 1/4 X 6 in (38.0 X 13.2 X 15.1 cm)
Wt: 11 lb (5.0 kg)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Mask, ca. 1910-1911
Cement
16 1/4 X 7 3/8 X 3 7/8 in (41.3 X 18.7 X 9.8 cm)
On base: 1 3/4 X 11 3/8 X 8 in (4.5 X 28.9 X 20.3 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Madonna of the Rocks, 1912
Bronze
52.1 cm
National Museums and Galleries of Wales
Carrousel Pierrot, 1913
Painted plaster
24 x 19 1/8 x 13 3/8 inches
Solomon R. Guggenheim Museum, New York City
Head: Construction With Crossing Planes (Study For "Femme A La Toilette"), 1913/(reconstructed ca. 1950)/(cast 1957)
Bronze
17 X 10 X 12 5/8 in. (43.0 X 25.2 cm)
Wt. 27 3/4 lb (12.6 kg)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Médrano II, 1913-1914
Painted tin, wood, glass, and painted oilcloth
49 7/8 x 20 1/4 x 12 1/2 inches
Solomon R. Guggenheim Museum, New York City
Torso, 1914
Marble on alabaster base
18 3/4 X 4 1/2 X 4 1/2 in (47.4 X 11.5 X 11.3 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Struggle (La Lutte); also called The Boxers, 1914
Bronze, cast 7/8
24 1/2 x 15 x 18 in.
Milwaukee Art Museum, Wisconsin
Standing Woman, Second Version, 1914 (probably cast 1950s)
Bronze
19 7/8 X 4 1/4 X 5 3/8 in (50.5 X 10.8 X 13.5 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
The Gondolier, 1914/reconstructed 1949-50/enlarged and cast 1957
Bronze
72 1/8 X 24 3/4 X 15 5/8 in (181.0 X 63.0 X 39.8 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Woman Combing Her Hair (Femme debout), 1914 or 1915
Bronze
14 1/8 x 3 5/8 x 3 3/16 in (35.9 x 9.2 x 8.1 cm)
Nasher Sculpture Center, Dallas, Texas
In the Cafe (Woman with Cup), 1915
Painted canvas and painted wood
24 1/2 X 17 X 3 1/2 in (62.3 X 43.2 X 8.8 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Woman with a Fan II, 1915
Painted fiberboard and painted wood
18 1/8 X 14 3/4 X 1 in (46.0 X 37.5 X 2.4 cm)
In artist's frame: 19 1/4 X 15 7/8 X 1 1/2 in
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Woman Combing Her Hair, 1915
Bronze
13 3/4 x 3 1/4 x 3 1/8" (35 x 8.3 x 8 cm) including base
Museum of Modern Art, New York City
Badende, 1915
Gips, Papiermaché auf einem Innengerüst aus Draht
50 cm
Städel Museum, Frankfurt, Germany
Female Torso (White Torso), 1916
Silver over plaster
18 X 9 X 8 3/4 in (45.7 X 22.7 X 22.3 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Female Torso (White Torso), 1916
Painted plaster on artist's wood base
21 X 8 X 8 1/4 in (53.4 X 20.3 X 20.7 cm) incl. artist's base
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Concave or Standing Woman, 1917
Bronze with green patina
H: 12 3/4 in.
Indianapolis Museum of Art, Indiana
Vase Figure, 1918
Painted cast stone
18 3/4 x 3 1/4 x 3 3/8 in (47.6 x 8.4 x 8.7 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Glass on a Table, 1920
Painted wood and plaster
16 1/8 x 13 x 1 1/4" (41 x 33 x 3.2 cm)
Museum of Modern Art, New York City
Head of a Woman, 1920-1921
Marble
16 1/8 X 5 1/4 X 6 3/8 in (40.9 X 13.3 X 16.2 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Turning Torso, 1921
Bronze
28 inches (object)
San Diego Museum of Art, California
Standing Woman, c. 1921
Wood
H: 44,5 cm
Private collection
Statuette of a Woman, 1923
Bronze.
H: 18 in
Los Angeles County Museum of Art, Los Angeles, California
The Past, 1926
Gilded metal
13 3/4 X 7 3/8 X 2 1/ 2 in (34.8 X 18.7 X 6.4. cm)
On base: 3 3/4 X 6 1/4 X 3 1/8 in (9.5 X 15.7 X 7.8 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Seated Female Nude, 1929
Bronze
Overall: 24.5cm x 11.8cm x 13.7cm, Base: 3.8cm
Cleveland Museum of Art, Ohio
La Boxe, 1935
Terracotta,
height 76,6 cm
Peggy Guggenheim Collection, Venice
Seated Geometric Figure, 1950s/cast by 1967
Bronze
17 3/4 X 8 7/8 X 5 1/2 in (45.0 X 22.5 X 14.0 cm)
On artist's base: 1 3/4 X 7 1/4 X 6 1/2 in
Hirshhorn Museum and Sculpture Garden, Washington D.C.
King Solomon, 1963, cast 1966
Bronze
26 3/4 x 11 1/8 x 11 in. (67.8 x 28.4 x 28.0 cm)
Smithsonian American Art Museum, Washington D.C.
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Em "Standing Woman, c. 1921", a forma estilizada de uma mulher emerge de um bloco de madeira quente e avermelhado. Esta obra combina elementos figurativos e abstractos. A face, o peito e as coxas da mulher são côncavos em ves ce convexos, reflectindo a abordagem revolucionária de Archipenko relativamente à escultura. Tendo abandonado as formas clássicas, Archipenko procurou sugerir curvas através de concavidades, reconstruindo o corpo da mulher em termos de volumes geométricos e justapondo linhas curvas e rectas para sugerir movimento. As ancas e a parte inferior do corpo da mulher estão viradas para um lado, ao passo que os seus ombros se inclinam na direcção oposta. Esta combinação de diferentes perspectivas deve muito ao Cubismo, um movimento que rejeitou as formas tradicionais de representação e de modelação. Archipenko nasceu na Ucrânia, mas mudou-se para Paris, onde conheceu picasso e os cubistas. Mais tarde foi para Berlim, onde fundou uma escola de arte, acabando por se fixar em Nova Iorque. Alexander Archipenko nasceu em Kiev (UCR) em 1887 e morreu em Nova Iorque (EUA) em 1964.
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Alexander Archipenko, Ukrainian-American artist, born May 30, 1887, Kiev, Ukraine [then Russian Empire], died February 25, 1964, New York, New York, U.S.
After studying in Kiev, in 1908 Archipenko briefly attended the École des Beaux-Arts in Paris, but he quickly abandoned formal studies to become part of more radical circles, especially the Cubist movement. He began to explore the interplay between interlocking voids and solids and between convex and concave surfaces, forming a sculptural equivalent to Cubist paintings’ overlapping planes and, in the process, revolutionizing modern sculpture. In his bronze sculpture Walking Woman (1912), for example, he pierced holes in the face and torso of the figure and substituted concavities for the convexities of the lower legs. The abstract shapes of his works have a monumentality and rhythmic movement that also reflect contemporary interest in the arts of Africa.
As he developed his style, Archipenko achieved an incredible sense of vitality out of minimal means: in works such as Boxing Match (1913), he conveyed the raw, brutal energy of the sport in nonrepresentational, machinelike cubic and ovoid forms. About 1912, inspired by the Cubist collages of Georges Braque and Pablo Picasso, Archipenko introduced the concept of collage in sculpture in his famous Medrano series, depictions of circus figures in multicoloured glass, wood, and metal that defy traditional use of materials and definitions of sculpture. During that same period he further defied tradition in his “sculpto-paintings,” works in which he introduced painted colour to the intersecting planes of his sculpture.
Archipenko taught art briefly in Berlin from 1921 to 1923. He worked as an art teacher for the rest of his life in New York City, except for a short time (1937–39) when he was connected with the New Bauhaus in Chicago. He continued to make sculptures, although he never again achieved the success and influence of his Cubist years.
in Encyclopedia Britannica
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Sexta-feira, Junho 05, 2009
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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