|This biography from the Archives of AskART:|
|Born in Montreal, Canada, Philip Guston had a career that vacillated
between deeply intense figurative painting and totally abstract
painting. He remains well known as one of the leading Abstract
Expressionists of the 1950s and 1960s and for his paintings in the last
part of his career that combined expressionism and realism. Influences
in addition to Abstract Expressionism were paintings by Renaissance
Masters, California surrealism and 1930s Mexican muralism.|
Guston was six years old, he moved to Los Angeles with his Russian
immigrant parents. In high school, he was a friend of future
gestural painter Jackson Pollack, and the two of them got into trouble
for circulating a satirical pamphlet and were expelled from
school. As an adult Guston continued his focus on social issues,
and joining the John Reed Club, aligned himself with left-wing
To earn money while painting on his own as a
young man, Philip Guston worked as a movie extra. He was
primarily a self-taught painter except for three months of study at the
Otis Art Institute. Major influences during that time were modernists
Lorser Feitelson and Reuben Kadish. Guston created a mural panel
about American Negroes in American society and depicted a Ku Klux
Klansman whipping a black man who had been tied up. Angry local
authorities destroyed the mural.
Guston's 1934 travels in
Mexico where he observed muralist work, especially that of David
Sisqueros, reinforced his interest in creating large murals with strong
political-social messages. Reuben Kadish was Guston's traveling
companion on this trip, which included the painting of a mural in the
former summer palace of Emperor Maximilian.
In 1935, he went
to New York City and did representational art including WPA murals for
the 1939 World's Fair, the Queensbridge Housing Project in New York
City in 1940 and the Social Security Building in Washington DC in
1942. He also did easel paintings beginning 1940, including
"Bombardment", which was a political statement about the Spanish Civil
In the late 1940s, Philip Guston turned to abstraction with
symbolism rooted in the mysteries of a child's world expressed in
flattened forms. His first solo exhibition was 1945, and that year he
won first prize in the Carnegie Institute annual exhibition. Shortly
after, he traveled in Europe and in 1950, settled in New York
City. He turned from figurative painting to Abstract
Expressionism including a series of "white paintings" that had
geometric constructions combined with color and brush-work derived from
impressionism. His work grew increasingly large and abstract with
heavy texture and much grey and black color.
Then In the 1970s,
he returned to figurative painting and increasingly more to
recognizable subjects and messages hearkening back to his earlier
period of narrative comment on societal subjects. Some of his paintings
had common objects, disembodied, and references to urban ugliness and
"menacing, gangster-like figures in a deliberately awkward style."
Philip Guston combined teaching with his painting
career and was a member of the faculties of Yale and Columbia
Universities and the University of Iowa. From 1973 until his death in
1980, he taught at Boston University and became an influential figure
in Boston art circles.
In 2005, California collector and real-estate developer Edward R. Broida gave a gift of 36 works
by Philip Guston to the Museum of Modern Art in New York City.
Included are twelve paintings, sixteen drawings and eight prints dating
from 1938 to 1980.
Michael David Zellman, "300 Years of American Art"
Matthew Baigell, "Dictionary of American Art"
Peter Falk, "Who Was Who in American Art"
Carol Vogel, 'The Modern Gets a Sizable Gift of Contemporary Art', New York Times, October 12, 2005
|Biography from Hollis Taggart Galleries (Artists, E-O):|
|Like many of his contemporaries, the Abstract Expressionist painter Philip Guston was also an accomplished draftsman. Yet unlike his fellow abstract artists, he turned to drawing both as an aid for arriving at painting compositions and as a medium of exploration and creative possibility of its own. Repeatedly over the course of his career, Guston would spend months, even years at a time, concentrating intensely on drawing, until he again felt the need to paint, “anxious to get to the same place, with the actuality of paint and light.” (1) Museum of Modern Art Curator of Drawing Magdalena Dambrowski explains that “drawing became his ‘problem solving’ medium; whether quickly noting a fresh thought, or elaborating a developing sequence of thoughts, it helped him to work out new formal and pictorial solutions.” (2)|
The importance Guston placed on drawing—as both a medium in its own right and as an underpinning for painting—derived from his own interests in studying artists from the past. Yet he rejected formal schooling, and drew most of his understanding of art history from books, exhibitions, and viewing fellow artists at work. At twelve, the transplanted Canadian began to draw, often hidden in a closet in his parents’ Los Angeles home, with only the dim illumination of a single incandescent bulb. Encouraged in his artistic promise, in 1930 he received a scholarship to take classes at the Otis Art Institute in Los Angeles; disappointed in the traditional art curriculum, he left after only three months. It was at the Otis Art Institute, however, where he met Musa McKim, the artist and poet who would become his wife seven years later. During this period of the artist’s early development, he based his technique on a close study of the art of Giorgio de Chirico and painters of the Italian Renaissance, such as Paolo Uccello, Andrea Mantegna and Piero della Francesca. He appreciated the three-dimensional, architectural space of these artists’ paintings, which he fused with a compact, fractured, Cubist pictorial space.
In the 1930s, Guston became increasingly involved in political issues, answering Mexican artists’ calls to use art as a tool for social awareness. In 1934, he joined the mural division of the Works Progress Administration. At this time, the Montreal-born Phillip Goldstein adopted the pseudonym Philip Guston. In late 1935, the artist moved to New York, rooming with Jackson Pollock, an old friend he had known since their days together at Manual Arts High School in Los Angeles. Among the murals he worked on were "Maintaining America’s Skills," now destroyed, for the façade of the WPA Building at the World’s Fair of 1939, the Queensbridge Housing Project in New York, and the Social Security Building in Washington, D.C. The style of his mural work owed much to Paolo Uccello’s "The Battle of San Romano," especially in the representation of figures in space. Another important source of inspiration was Picasso, whose major retrospective at the Museum of Modern Art in 1939 was an influential event for most American painters.
In 1940, Guston left the mural project, and for several years served as artist-in-residence at the State University of Iowa and Washington University. He participated in the Carnegie Institute’s 1945 exhibition, "Painting in the United States," receiving first prize for his submission. In the same year, Midtown Galleries mounted his first New York solo exhibition. Throughout the 1940s and 1950s, Guston participated in prominent group exhibitions, one-man shows, and international events, such as the Venice Biennale and the Bienal de São Paolo. He also received several notable fellowships and awards, including the prestigious Guggenheim Fellowship, the Altman Prize from the National Academy of Design, a Ford Foundation grant, the Prix de Rome from the American Academy in Rome, and the Art Institute of Chicago’s Flora Mayer Witkowsky prize. He continued to teach (mainly drawing) at New York University and at the Pratt Institute until 1959.
Like many of his contemporaries, Guston spent the years after World War II developing a personal style and vision out of the diverse range of realist and abstract influences that challenged American artists of his era. In the early 1950s, he formulated a lyrical abstract style, which towards the end of the decade evolved into single dark images embedded in gray paint. These works stemmed from a desire for a "tabula rasa," or in the artist’s words, “simply to locate a form. So I use the most elementary way of making a mark, which is black on white….” (3) A lively member of the Eighth Street Club, Guston formed lasting friendships with Robert Motherwell and John Cage, who both shared his interest in Zen philosophy and Existentialism. He also frequented the Cedar Tavern, a popular watering hole for artists and often the site of a lively debate abut artistic ideals and the nature of creativity. Like his fellow Abstract Expressionist painters, he was represented by the Sidney Janis Gallery, and exhibited his work there regularly until 1961.
In the mid-1960s, the artist explored a new spatial structure, where non-objective forms appeared to exist in different locations in depth, on different planes. The turmoil in the United States surrounding the response to the Vietnam War prompted a desire for the artist to “get into more of what I call ‘tangibility.’ I wanted ‘touchable’ things.” (4) The forms, while sometimes recognizable, do not inhabit a coherent, naturalistic space, and thereby create troubling, even tragic, moods, full of unaccountable events and misunderstood emotions. Guston shied away from purely realistic drawing, feeling that it would not have had the spectral mood of his veiled evocations of race relations, in the hooded figures, for example, or the subtle hint of law in the large tomes intimating Moses’ Ten Commandments.
In 1965, the artist stopped painting altogether, to completely devote his efforts to drawing. (He returned to painting four years later.) From 1968 until his death, the artist produced drawings and paintings based on figurative motifs that were expressive of universal themes. In 1980, Guston died from a heart attack, only one month after a major retrospective of the artist’s work opened at the San Francisco Museum of Modern Art.
1) Cited in Magdalena Dabrowski, "The Drawings of Philip Guston" (New York: The Museum of Modern Art, 1988), p. 10.
3) Ibid., p. 32.
10) Ibid., p. 27.
© Copyright 2008 Hollis Taggart Galleries
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Philip Guston is also mentioned in these AskART essays: