#philipguston

[archiveofcanvas]

Philip Guston

Celebration

1961

[skf-fineart]

Philip Guston (1913-1980)

Tower, 1970

Oil on canvas, 72 x 80 1/2 inches

[oscarangelreysoto]

“Archaic Forms” Painting and sculpture are very archaic forms. It’s the only thing left in our industrial society where an individual alone can make something with not just his own hands, but brains, imagination, heart maybe. #philipguston Pencils, ink and collage on paper. La pintura y la escultura son tecnicas muy arcaicas. Es lo único que queda en nuestra sociedad industrial donde un individuo solo puede hacer algo no solo con sus propias manos, sino también con el cerebro, la imaginación y quizás el corazón. #philipguston Lápices, tinta y collage sobre papel. #archaic#oscarrey#oscarangelreysoto#oscaratelier#quoteoftheday#fineart#artistlife#contemporaryart#painting#contemporary#artcollector#artaddict#Malerei#zeichnungen#pintura (hier: Berlin, Germany) https://www.instagram.com/p/CoNrggur3fR/?igshid=NGJjMDIxMWI=

[artsology]

“Anxiety,” 1975, oil on canvas by Philip Guston. #philipguston #anxiety #telephone #phone #sandwich #painting #modernart #guston #arthistory https://www.instagram.com/p/ChZLsRvuNz9/?igshid=NGJjMDIxMWI=

[artbookdap]

"Rug" (1976) is reproduced from 'Philip Guston Now,' the catalog to the exhibition opening today at @ngadc⁠ ⁠ In his catalog essay, Rirkrit Tiravanija quotes a 1965 text by Guston: "But you begin to feel as you go on working that unless painting proves its right to exist by being critical and self-judging, it has no reason to exist at all — or is not even possible."⁠ ⁠ @markgodfrey1973 quotes Guston from an October 7, 1973, letter to poet Bill Berkson: “Our whole lives (since I can remember) are made up of the most extreme cruelties of holocausts. We are the witnesses of the hell. When I think of the victims it is unbearable. To paint, to write, to teach in the most dedicated sincere way is the most intimate affirmation of creative life we possess in these despairing years."⁠ ⁠ Read more via linkinbio.⁠ ⁠ Text by Harry Cooper, Mark Godfrey, Alison de Lima Greene, Kate Nesin. Contributions by Jennifer Roberts, Tacita Dean, Peter Fischli, Trenton Doyle Hancock, William Kentridge, Glenn Ligon, David Reed, Dana Schutz, Amy Sillman, Art Spiegelman, Rirkrit Tiravanija.⁠ ⁠ Published by D.A.P. & NGADC⁠ ⁠ #philipgustonnow #philipguston #guston @the_guston_foundation @mfaboston @mfahouston @tate @tiravanija_team_cm https://www.instagram.com/p/Cp0oGSdJCnB/?igshid=NGJjMDIxMWI=

[moma-prints]

Unused preparatory drawing for In Memory of My Feelings, Philip Guston, 1967, MoMA: Drawings and Prints

Gift of the artist Size: 13 7/8 x 11" (35.3 x 27.9 cm) Medium: Ink on acetate

http://www.moma.org/collection/works/125382

[mia-paintings]

Bronze, Philip Guston, 1955, Minneapolis Institute of Art: Paintings

Abstraction. Philip Guston began his career as a painter for the Works Progress Administration (WPA), the government-supported program that helped support arts and culture during the Depression years. Guston's contributions to public art during these years reflected his knowledge of Renaissance figurative painting and his interest in socially realistic subject matter. Today Guston is renowned for the highly original figurative art he created later in his career. However, he made a surprising and brilliant detour into abstraction during the 1950s. Long attracted to European painting of the 16th - 17th centuries, it was during a visit to Italy in the late 1940s that he immersed himself in the painterly work of the Baroque period. Studying its celebration of color, gesture, and movement, Guston felt that he could finally reconcile his interest in recognizable form with his impulse toward pure expression. Although we don't know for sure if Guston studied the paintings of Peter Paul Rubens, such as the one installed on the opposite wall, he most likely saw the European master's work while traveling in Europe. The similarities of color and structure between the Guston and Rubens paintings on view here are striking, as is their shared emphasis on movement, sensuality, and metamorphosis. Size: 76 x 72 in. (193.0 x 182.9 cm) Medium: Oil on canvas

https://collections.artsmia.org/art/1354/

[theamazingpoppingeyes]

Risky? Essential!... Philip Guston at Hauser & Wirth, New York.      Here • Sleeping • from 1977.     Is Philip Guston right for now?     Last year, the long-planned, widely anticipated traveling retrospective of Guston was abruptly postponed for three years, as the four participating museums organizing it - the National Gallery of Art in Washington, DC, the Museum of Fine Arts in Houston, the Tate Modern in London, and the Museum of Fine Arts in Boston, were afraid for the reception of the public. The zeitgeist was changed and we, the viewers, are not ready to deal with Guston’s powerful work. Really? Really!     ‘Sleeping’ from 1977, a self-portrait, shows Guston’s condition after his wife Musa had a series of debilitating strokes.     Go see this show and decide for yourself!       #philipguston #guston #art #modernart #artist #painter #painting #oil #canvas #sleeping #bed #cartoon #shoes #stillness #storytelling #crisis #fashion #religious #mythological #portrait #selfportait #portraiture #renaissance #arthistory #figuration #figurative #figurativeart #theamazingpoppingeyes #hauserwirth #newyork https://www.instagram.com/p/CTp0dViLIka/?utm_medium=tumblr