Given anonymously

The Street from Ten Lithographs by Ten Artists http://www.moma.org/collection/works/69552

Inscapes. Words and Images

Inscapes. Words and Images www.wikiart.org/en/philip-guston/inscape...

In the late 1960s, painter Philip Guston made a radical shift. Previously acclaimed for lush, luminous abstract works, he turned to crude, awkward renderings of often-sinister figures and objects. “I got sick and tired of that purity,” he declared. “I wanted to tell stories.” In an outpouring of figurative work near the end of his career that employed recurring imagery such as cartoonish Ku Klux Klansmen and piles of prone legs with the soles of their shoes exposed, Guston addressed sociopolitical issues as well as his own artistic conflicts. Starkly titled, Bad Times is dominated by brushy, almost pearlescent passages of paint that seem at odds with, but that also ground, a graphic scene of violence or its aftermath. Bequest of Musa Guston

Bad Times https://www.artic.edu/artworks/118569/

A Critical Study

A Critical Study www.wikiart.org/en/philip-guston/a-criti...

Gift of Edward R. Broida

Haven http://www.moma.org/collection/works/100268

Philip Johnson Fund

Painting http://www.moma.org/collection/works/78383

Gift of the artist

Preparatory drawing for In Memory of My Feelings http://www.moma.org/collection/works/108333

Anonymous gift

Portrait II https://www.artic.edu/artworks/111619/

City Limits

City Limits https://www.wikiart.org/en/philip-guston/city-limits

Martial Memory

Martial Memory https://www.slam.org/collection/objects/35683/

Gift of Edward R. Broida

East Side http://www.moma.org/collection/works/100259

Daydreams

Daydreams https://www.wikiart.org/en/philip-guston/daydreams

Gift of Edward R. Broida

Untitled http://www.moma.org/collection/works/100246

abstract image with blocks of thick pigment; yellow, blue, green, red, black When executing this bold gouache in his Abstract Expressionist phase, the New York school artist Philip Guston seemed intent on disguising his mastery of traditional draftsmanship and the formative influence Italian Renaissance painting had on him. (This, however, might partly explain the artist’s surprising return to figurative art in 1970.) Mott #3 is part of a series of small-scale gouaches and oils from 1958–59 in which Guston explored new ideas on abstraction. The speed and directness of graphic media meant he could work out solutions without the investment of time and materials required for large oil paintings, and the reduced scale was conducive to experimentation. The arrangement of irregular shapes of dense, loosely painted color and Guston’s vigorous brushwork suggest urgency. The blocklike shapes pulse and press inward on one another, generating an almost palpable energy.

Mott #3 https://collections.artsmia.org/art/95641/

John B. Turner Fund

Coat http://www.moma.org/collection/works/63063

The Room

The Room https://www.wikiart.org/en/philip-guston/the-room

Purchased 1990

Untitled www.tate.org.uk/art/artworks/guston-unti...

Gift of The Museum of Modern Art Department of Publications

In-text plate (folios 71 verso and 72 recto) from In Memory of My Feelings http://www.moma.org/collection/works/11190

The Pit

The Pit https://www.wikiart.org/en/philip-guston/the-pit

Painter's Forms No. 2

Painter's Forms No. 2 www.wikiart.org/en/philip-guston/painter...

Clock

Clock https://www.wikiart.org/en/philip-guston/clock

Last Piece

Last Piece www.wikiart.org/en/philip-guston/last-pi...

Untitled https://www.wikiart.org/en/philip-guston/untitled-1

Gift of Edward R. Broida

Pleasures http://www.moma.org/collection/works/100245

date inscribed Presented by the American Fund for the Tate Gallery, courtesy of a private collector 1996

Agean http://www.tate.org.uk/art/artworks/guston-agean-p11408

date inscribed Presented by the American Fund for the Tate Gallery, courtesy of a private collector 1996

Untitled www.tate.org.uk/art/artworks/guston-unti...

The Judith Rothschild Foundation Contemporary Drawings Collection Gift

Untitled http://www.moma.org/collection/works/96078

An established painter of some of the most poetic Abstract Expressionist painting of the late 1950s, Guston gradually abandoned abstraction in the 1960s in favor of seemingly crude, cartoonish, images drawn from memory. In Couple in Bed, Guston lays in bed with his wife, Musa, their faces pressed together as one in the manner of Brancusi's The Kiss. Here the artist holds his brushes as tightly as he does his wife, who in May of 1977 suffered a series of debilitating strokes. Through prior bequest of Frances W. Pick, and memorial gift from her daughter, Mary P. Hines

Couple in Bed https://www.artic.edu/artworks/90583/

Restricted gift of Mrs. Frederic G. Pick; Grant J. Pick, Charles H. and Mary F.S. Worcester, and Twentieth-Century Discretionary funds; and anonymous gift

Green Sea https://www.artic.edu/artworks/109692/

Presented by the American Fund for the Tate Gallery, courtesy of a private collector 1996

Gulf http://www.tate.org.uk/art/artworks/guston-gulf-p11419