American Painter
In a career of constant struggle and evolution, Philip Guston emerged first in the 1930s as a social realist painter of murals in the 1930s. Much later he also evolved a unique and highly influential style of cartoon realism. But he made his name as an Abstract Expressionist. He avoided the muscular gestures of painters such as Pollock and Kline, and opted for a lighter touch, painting shimmering abstractions in which forms seem to hover like mists in the foreground.
Philip Guston was born Philip Goldstein, in Montreal, Canada, in 1913. He was the youngest of seven children born to a Jewish couple who had come to America after fleeing the pogroms in Russia. America seemed to offer shelter from persecution, yet the family found life difficult in their new country. Guston's father had been a saloon keeper, but he struggled to find work; in 1919 the family moved to Los Angeles with hopes of better fortunes, but they only encountered more hardship and also met with the racism that surrounded the growth of the Klu Klux Klan in the period. Around four years later, his father committed suicide by hanging and Guston discovered the body, an experience which profoundly marked him. As he moved into adolescence, Philip retreated in the fantasy world of comics, and started to become interested in drawing, which led his mother to enroll him in a correspondence course at the Cleveland School of Cartooning, thus beginning his training as an artist.
Gladiators is an early example of Guston's social realist style, which he would maintain throughout his work as muralist with the WPA. It represents an attempt to capture something of the monumentality that he admired in Italian Renaissance art, though it is also one of the first pictures in which he explores the imagery of hooded figures, fists and shields, which would reappear in his late work.
Zone, a painting that reflects the focused concentration of Guston's mature work, suggests a warm calm, with its mist of red hatch-marks filling the painting's center. Here, Guston hones his mark-making, and builds layers of paint out of quick, small stokes that are quite distinct from the wilder gestures of some of his colleagues. "Look at any inspired painting," he once said, "it's like a gong sounding; it puts you in a state of reverberation."
Last Piece is not Guston's last Abstract Expressionist painting, but it represents a transition away from the shimmering forms of the early 1950s towards the recognizable motifs of his later, more figurative works. If Buddhism, and concepts of nothingness, had informed his earlier abstractions, this represents a move away from those inspirations.
Content compiled and written by The Art Story Contributors
Edited and published by The Art Story Contributors
