- Black Angel: The Life of Arshile GorkyOur PickBy Nouritza Matossian
- From a High Place: A Life of Arshile GorkyBy Matthew Spender
- Arshile Gorky: The Man, the Time, the IdeaOur PickBy Harold Rosenberg
- Arshile Gorky: His Life and WorkOur PickBy Hayden Herrera
- Arshile Gorky: The Implications of SymbolsBy Harry Rand
Important Art by Arshile Gorky
Gorky's early work The Artist and His Mother (c. 1926-36), for which he did many drawings and painted versions, is a deeply personal composition that depicts the artist as a child with his mother, who died in his arms in 1919 following the Armenian Genocide. The treatment of the figures is reminiscent of Pablo Picasso's Blue Period paintings, evoking the same melancholic atmosphere through its palette, abstracted flatness and incompleteness. However, the more immediate source for the painting is a (frequently reproduced) photograph of the young Gorky with his mother taken in Armenia around 1912. Contrasting the painting with the original photograph is a satisfying lesson in the appreciation of modern art. Such changes from the photograph to the painting as the almost painfully negative space that evolves between the two figures, the boy's feet angling away from his mother, the emphasis on the eyes, and the expansion of the dark rectangle to create a sort of Madonna-like "cloth of honor" behind his mother's head (as well as many more subtle differences) all serve to communicate the emotional pain of the loss of his mother, whom he will never see or touch again, as well as to raise her to the status of immortal icon.
This early painting of 1927 is a superlative example of Gorky's "Cézanne" period. During these years, Gorky composed numerous canvases after Paul Cézanne's still lifes and landscapes. This particular landscape was painted from nature on Staten Island, where Gorky sought out a hillside reminiscent of L'Estaque, one of the beloved painting destinations of Cézanne. The rigid, architectonic geometry of private houses dominates the composition, while the warm, joyful palette imbues the view of the New York borough with the appearance of the South of France. While not precisely a copy of Cézanne, it is a careful study of the artist's style of geometric abstraction that was part of the modern movement in Europe, pointing to Gorky's desire to actively absorb styles and movements of the past in seeking his own individual style.
During the Great Depression Gorky worked as a muralist for the Federal Art Projects/Works Progress Administration (FAP/WPA). Between 1935 and 1937, Gorky produced a ten panel large-scale mural cycle for Newark Airport. Of the original murals, only two still exist; the others were either destroyed or somehow disappeared. Gorky was one of the very few New Deal muralists to paint in an abstract language.
In this mural, Gorky shows the continuing influence of European Modernism. While clearly engaged with the Cubist vocabulary of Picasso and Braque, the brilliant colors, and mechanized forms of these murals are strongly indebted to Fernand Leger. Gorky has harmoniously brought together different strands of modernism, which he uses to celebrate modern aeronautics, flight, and speed. Here, Gorky successfully deploys the language of pure abstraction with biomorphism along with a more literal representation of the United State with flight paths relevant to Newark. The modern, abstract style of these brightly colored murals sparked controversy in the 1930s as the public prized American Scene realism. Each panel stirs within the viewer the excitement of the modern machine age and spectacle of air travel in the Depression era. Further, through the mural's public placement within Newark airport, Gorky successfully introduced modernist vocabulary to a greater, non-art viewing segment of society.