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Books : Arts & Photography : Artists, A-Z : ( G-I ) : Guston, Philip
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This is the premier collection of dialogues, talks, and writings by Philip Guston (1913-1980), one of the most intellectually adventurous and poetically gifted of modern painters. Over the course of his life, Guston's wide reading in literature and philosophy deepened his commitment to his art--from his early Abstract Expressionist paintings to his later gritty, intense figurative works. This collection, with many pieces appearing in print for the first time, lets us hear Guston's voice--as the artist delivers a lecture on Renaissance painting, instructs students in a classroom setting, and discusses such artists and writers as Piero della Francesca, de Chirico, Picasso, Kafka, Beckett, and Gogol.
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With more than 100 illustrations -- approximately 48 in full color -- this innovative series offers a fresh look at the most creative and influential artists of the postwar era. Modern Masters form a perfect reference set for home, school, or library. Each handsomely designed volume presents:- A thorough survey of the artist's life and work
- Statements by the artist
- An illustrated chapter on technique
- Chronology
- Lists of exhibitions and public collections
- Annotated bibliography
- Index
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Since Philip Guston's death in 1980, his late figurative paintings and drawings have steadily reaped the acclaim they deserve--acclaim that was largely denied them during Guston's lifetime (Hilton Kramer infamously reviewed Guston as a "mandarin pretending to be a stumblebum" in a damning 1970 New York Times article). This volume reunites a selection of paintings from the Roma series, completed during Guston's residency at the American Academy in Rome in 1970-71. From early in his career, Guston had taken inspiration from Italian art, and his 1973 painting "Pantheon" features a list of Italian painters: de Chirico, Masaccio, Piero della Francesca, Giotto and Tiepolo. Italian cinema (especially Fellini) and classical sculpture were also dear to his heart. The Roma works consolidate this dialogue with Italian art and culture. Diary entries published alongside the reproductions recount exchanges at the American Academy, pilgrimages to Venice, Arezzo, Sicily and Orvieto, and observations of the international cultural community in Rome.
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Philip Guston (1913–1980) was driven, sustained, and consumed by art. His style ranged from the social realism of his WPA murals through his abstract expressionist canvasses of the 1950s and 1960s (when he counted Pollock, Rothko, de Kooning, and Kline among his friends) to his cartoonlike paintings of Klansmen, disembodied heads, and tangled piles of everyday objects. Critics and public alike savaged Guston for his return to figurative art, but today his late work is recognized for the singular power of its darkly hilarious vision. Musa Mayer augments her firsthand knowledge with extensive interviews with his family, friends, students, and colleagues, as well as Guston's own letters, notes, and autobiographical writings, to re-create a turbulent era in American art. Night Studio, profusely illustrated (including almost a dozen paintings in full color), illuminates not only the life of a great artist, but the experience of growing up in his shadow.
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In Telling Stories, David Kaufmann focuses on Philip Guston's controversial figurative paintings of the late 1960s and 1970s. He looks at the early critical reception of these works to see what the artist was actually doing and, at another level, to investigate the odd alchemy of artists and their audiences. Grounding his historical approach in careful readings of the paintings, Kaufmann pays close attention to Guston's intense and complicated relationship to Judaism. At the same time, by situating Guston in the context of the fashions of the New York art world, Kaufmann provides unique insight into the workings of that world at the moment when the strictures of artistic modernism began to fade.
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Novelist Ross Feld remembers his friend, the acclaimed artist Philip Guston, in a beautiful blend of memoir, biography and art criticism interspersed with extracts from Guston's vibrant letters. Painters have needed writers from the time of Vasari. By words visual imagery is given a second vividness, and writers recast it into a descriptiveness that's infinitely portable. The figurative painter Philip Guston found such an interpreter of his art in his friend, novelist Ross Feld. Guston in Time is Feld's final appreciation of Guston and his work. Both a complex study of one of the twentieth century's greatest artists and a testament to a wonderful friendship, it is ultimately a tribute to a great character. Philip Guston lives and breathes in this book. The excerpts from his letters are brash and brilliant, and Feld's fantastic images of the man are a mosaic of his grandiosity of spirit. As Feld writes, "he was like a Zero Mostel, a supernova of personality," and here Feld has created an unforgettable portrait of a man and his art, crafted with love and genius. Philip Guston's life was, in many ways, a chronicle of twentieth century American painting. He was a muralist with the Federal Art Project in the 1930s, an abstract expressionist in the fifties and sixties, and in the last and most important decade of his life, Guston's work changed yet again. His late, figurative work-crude, bold
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Dore Ashton has updated the bibliography and added a new concluding chapter to her classic study of the paintings and drawings of Philip Guston, the only study of his work completely authorized by the artist.
Philip Guston (1913-1980) was one of the most independent of the painters whose work was loosely linked by the term "abstract expressionism" during the 1950s, and he baffled admirers of his lushly beautiful abstract expressionist paintings by moving abruptly in mid-career to gritty figurative paintings in an almost cartoon-like style. One of the few critics who saw this at the time as a progressive development in his work was Dore Ashton, who here analyzes Guston's paintings and drawings in the context of the cultural milieu in which he worked, illuminating the dilemma facing artists who try to live with, understand, and express both the ideals of art and the reality of the world.
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In 1971, the artist Philip Guston (1913-1980) created this series of caricatures of Richard Nixon, now available for the first time in book form. Produced two years before Watergate and three years before Nixon's resignation, these provocative, searing condemnations of a corrupt head of state are both a remarkable, prescient political satire and an aesthetic landmark-one of few instances of an artist in the late twentieth century engaging caricature in his work.
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Painter Philip Guston's return to figuration in the late 1960s was plotted and rehearsed in his drawing practice, in which he veered between what he referred to as "pure drawing" (abstract) and figurative drawing (a shoe, a chair, a nail, an open book, a hooded head). As he groped his way into this strange and clunky vocabulary, Guston discovered an incredible world awaiting him, and realized, as he put it, that "I wanted to tell stories!"
Guston's drawing was also a vehicle for collaboration--with poets such as Clark Coolidge and Bill Berkson--and for satire--the Poor Richard series. His draftsmanship betrays such early influences as the cartoons of Frink and George Herriman, perhaps instances of the "impure" art that flooded back into his practice after he abandoned abstraction. With a selection of about 100 drawings, mostly from the artist's estate, Philip Guston: Works on Paper tracks the evolution of this major American artist's drawing from the 1940s to 1980.
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Focusing on Philip Guston's mature production in abstraction and his later figuration, this book argues for Guston as a consistent artist whose generic shift in the late 60s, from Monet-like abstract hatchings to the cartoonish forms of his final decade and a half, reminded artists everywhere that courage is what it's all about. Here, well-known experts on Philip Guston's oeuvre such as Michael Auping and Christoph Schreier discuss the scope of Guston's sizeable body of work.
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Focuses on drawings that grew out of Guston's (1912-1980) interactions and collaborations with poets during the last decade of his life. Long associated with the New York School of painters, in the late 1960s Guston turned from abstract work and began integrating lines, passages and, in some cases,
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