Homage to Philip Guston

Clark Coolidge + Philip Guston

To Draw is to Make Be More Than One Start

 

…Smoking and Drawing

 

…I Need to

 

I Have a Large Dog I Taught to Lie Still

 

I Kicked Into Precise Space Without Touching

 

Lines, Drops”

 

…Borderlands

Courtesy of UBU website NYC

 

Philip Guston

City Limits – 1969
Oil on canvas
77 x 103 1/4 in.
Estate of Philip Guston

 

Outskirts – 1969
Oil on canvas
165.1 x 190.5 cm
The Estate of Philip Guston

 

Ancient Wall – 1976
Oil on canvas
80 x 93 1/2 in.
Estate of Philip Guston

 

Curtain – 1977
Oil on canvas
172.7 x 264.2 cm
The Estate of Philip Guston

 

Sleeping – 1977
Oil on canvas
213.4 x 175.3 cm
Private collection

 

Talking – 1979
Oil on canvas
173.9 x 198 cm
The Edward R. Broida Collection

 

 

 

 

PHILIP GUSTON

From Wikipedia, the free encyclopedia

Philip Guston (June 27, 1913 – June 7, 1980) was a notable painter and printmaker in the New York School, which included many of the Abstract Expressionists, such as Jackson Pollock and Willem De Kooning. In the late 1960s Guston helped to lead a transition from Abstract expressionism to Neo-expressionism in painting, abandoning the so-called “pure abstraction” of abstract expressionism in favor of more cartoonish renderings of various personal symbols and objects.

 

 

Life and work

Born Phillip Goldstein in 1913 in Montreal, Canada, Guston moved with his family to Los Angeles as a child. Guston’s Russian-Jewish parents escaped persecution when they moved from Odessa, Russia. Guston and his family were aware of the regular Klan activities against Jews, Blacks and others which took place across California during Guston’s childhood. When Guston was 10 or 11, his father hanged himself in the shed, and the young Guston found the body. Guston began painting at the age of 14, and in 1927 he enrolled in the Los Angeles Manual Arts High School, where both he and Jackson Pollock studied under Frederick John de St. Vrain Schwankovsky and were introduced to Modern European art, oriental philosophy, theosophy and mystic literature. This early work was figurative and representational, and though his parents did support his artistic inclinations, he often made drawings in his closet, lit by a hanging bulb. Apart from his high school education and a one-year scholarship at the Otis Art Institute in Los Angeles, Guston remained a largely self-taught artist. During high school, Guston and Jackson Pollock published a paper opposing the high school’s emphasis on sports over art. Their criticism led to both being expelled, but Guston returned and graduated. At Otis on scholarship, Guston felt unfulfilled by the academic approach which limited him to drawing from plaster casts instead of the live model. Before dropping out of Otis, Guston spent a night in the studio making drawings of these figurative plasters scattered all over the studio floor. As an 18 year old, politically-aware painter, Guston made an indoor mural in L.A. depicting the Scottsboro Boys. This mural was defaced by local police officers, which impacted Guston’s political and social outlook. Guston, as Philip Goldstein, along with Reuben Kadish, completed a significant mural in 1935 at City of Hope, a tuberculosis hospital located in Duarte, California, that remains to this day.

In 1936, Guston moved to New York, and worked as an artist under the WPA program. During this period his work included strong references to Renaissance painters such as Paolo Uccello, Masaccio, Piero della Francesca, and Giotto. He was also influenced by American Regionalists and Mexican mural painters. A powerful and enduring influence, whom Guston was to acknowledge throughout his career, was Italian painter Giorgio de Chirico. Musa Mayer, Guston’s daughter, recalled in her book Night Studio: A memoir of Philip Guston how the artist kept a De Chirico monograph in his studio, to which he would often refer. From 1941 to 1945 he taught at the State University of Iowa (today the University of Iowa), where he completed his mural for the Social Security Building in Washington, D.C., turned to easel painting, and had his first solo exhibition in 1944. He later accepted a teaching position at Washington University, St. Louis, from 1945 to 1947.

In the 1950s, Guston achieved success and renown as a first-generation Abstract Expressionist. During this period his paintings often consisted of blocks and masses of gestural strokes and marks of color floating within the picture plane. These works, with marks often grouped toward the center of the compositions, recall the “plus and minus” compositions by Piet Mondrian. Guston used a relatively limited palette favoring whites, blacks, greys and reds in these works. This palette remains evident in his later work.

In the late 1960s, Guston became frustrated with abstraction and began painting representationally again, but in a rather cartoonish manner. The first exhibition of these new figurative paintings was held in 1970 at the Marlborough Gallery in New York. It received scathing reviews from most of the art establishment (notably from the New York Times art critic Hilton Kramer who, in an article ridiculed Guston’s new style). One of the few who instantly understood the importance of those paintings was the painter Willem de Kooning who, at the time, said to Guston that they were “about freedom” (cited in Musa Mayer’s biography of her father, Night Studio). As a result of the poor reception of his new figurative paintings, Guston decided to move from New York and settled in Woodstock, far from the art world which had so utterly misunderstood his art (see the initial reaction of Robert Hughes, critic for Time Magazine, who later was to change his views, and that of Hilton Kramer from the NY Times). His contract with the Marlborough gallery was not renewed and, after a short period without any dealer, he joined the recently opened David McKee Gallery (he had known McKee at Marlborough) to which he would remain faithful until the end of his life. When criticized widely about the impurity of these later paintings, he responded, “There is something ridiculous and miserly in the myth we inherit from abstract art. That painting is autonomous, pure and for itself, therefore we habitually analyze its ingredients and define its limits. But painting is ‘impure’. It is the adjustment of ‘impurities’ which forces its continuity. We are image-makers and image-ridden. There are no wiggly or straight lines…” In this body of work he created a lexicon of images such as Klansmen, lightbulbs, shoes, cigarettes, and clocks. Guston is best known for these late existential and lugubrious paintings, which at the time of his death had reached a wide audience, and found great popular acceptance. Guston died in 1980 in Woodstock, New York.