Philip Evergood
Philip Evergood

Philip Howard Francis Dixon Evergood (né Howard Blashki le 26 octobre 1901 à New York et mort le 11 mars 1973 à Bridgewater dans le Connecticut dans l’incendie de sa maison) est un peintre américain qui voulait mettre sa peinture au service de son engagement social. Il a ainsi forgé un style très personnel et difficile à classer parmi les courants du xxe siècle.

Philip Evergood
Philip Evergood

Image associée

Philip Howard Francis Dixon Evergood (born Howard Blashki; 1901–1973) was a Jewish American painter, etcher, lithographer, sculptor, illustrator and writer. He was particularly active during the Depression and World War II era

Philip Evergood
Philip Evergood

Philip Evergood was born in New York City. His mother was English and his father, Miles Evergood, was an Australian artist of Polish Jewish descent who, in 1915, changed the family’s name from Blashki to Evergood. Philip Evergood’s formal education began in 1905. He studied music and by 1908 he was playing the piano in a concert with his teacher.

He attended different English boarding schools starting in 1909 and was educated mainly at Eton and Cambridge University. In 1921 he decided to study art, left Cambridge, and went to London to study with Henry Tonks at the Slade School.

In 1923 Evergood went back to New York where he studied at the Art Students League of New York for a year. He then returned to Europe, worked at various jobs in Paris, painted independently, and studied at the Académie Julian, both with André Lhote and with Stanley William Hayter; Hayter taught him engraving.

He returned to New York in 1926 and began a career that was marked by the hardships of severe illness, an almost fatal operation, and constant financial trouble.

It was not until the collector Joseph H. Hirshhorn purchased several of his paintings that he could consider his financial troubles over. Evergood worked on WPA art projects from 1934 to 1937 where he painted two murals: The Story of Richmond Hill (1936–37, Public Library branch, Queens, N.Y.) and ‘Cotton from Field to Mill (1938, post office in Jackson, Ga.).[4] He taught both music and art as late as 1943, and finally moved to Southbury, Connecticut, in 1952. He was a full member of the Art Students League of New York and the National Institute of Arts and Letters. He was killed in a house fire in Bridgewater, Connecticut, in 1973 at the age of 72. He is buried in Green-Wood Cemetery, Brooklyn

Résultat de recherche d'images pour "Philip Evergood"Art

Evergood’s influences include El GrecoBoschBrueghelGoyaDaumierToulouse-LautrecSloan‘s Ashcan paintings, and even prehistoric cave art.

Evergood is noted for his deliberately awkward drawing and his spontaneous bold lines. His skillfully organized sophisticated compositions are often humorous, frequently fantastic, and sometimes openly symbolic. His color is never conventional but rather evokes an extremely personal mood that reveals the artist as both militantly social and warmly sensuous.

Though he experimented with etching and lithography in the 1920s, he did not begin to devote himself on a large scale to original printmaking until after 1945. At this time he studied printmaking techniques at the New York studio of Stanley William Hayter. During the following twenty-five years he produced many works of art in both lithography and etching.

During the 1950s Evergood departed from his established « Social Realism » style and concentrated on symbolism, both biblical and mythological. A characteristic work of this period in Evergood’s life is The New Lazarus, painted in 1954 and presently housed in the Whitney Museum of American Art.

Evergood Self Portrait: c. 1960, University of Kentucky Art Museum Collection

He maintained a socially conscious attitude in his art for the remainder of his career, and was in fact considered to be something of a maverick. He was a figurative painter when much of the art world placed greater value on abstraction, and he was a moralist when moralizing was not considered an option for serious painters. His best-known works are gritty, populist images of contemporary life, and are full of vitality and imagination. A blend of reality and fantasy gives his paintings an appealing, cartoonish quality, and his incisiveness as a social critic emboldens his work. His art is founded on contradiction: sophisticated intent is matched by intentionally crude technique, and tawdry overstatement is balanced with delicate lines.

Je laisse un commentaire

Ce site utilise Akismet pour réduire les indésirables. En savoir plus sur comment les données de vos commentaires sont utilisées.