Label Text
Guston worked in three distinctly different styles throughout his career. This is a maj or work from the final period, in which Guston controversially returned to figurative work after establishing himself as an important Abstract Expressionist. In 1966, Guston, partially influenced by the horrific events of World War II and Viet Nam j ects, things rooted in the tangible world.” Consequently, his paintings became filled with recognizable imagery such as shoes, eyes, and other references to the human body. This work is a portrait of composer Morton Feldman, a close friend of Guston’s, described as a “mountain of a man” who was often seen smoking. Feldman’s work as a composer is suggested by the figure’s oversized ear. The large, bloodshot eye and view of the face in profile were elements often used by Guston, particularly in his self-portraits, and the stylized puff of smoke is reminiscent of his earlier Abstract Expressionist works.
Exhibition History"Commitment, Community and Controversy: The Des Moines Art Center Collections," Des Moines Art Center, Jan. 24, 1998 - May 10, 1998
"From Body to Being: Reflections on the Human Image," Des Moines Art Center, Feb. 1 - Apr. 29, 1997
"Concert Eberhard Blum in honor to Morton Feldman" Berlinische Galerie, Martin-gropius-Bau, Berlin, Germany, Jan. 21, 1996 (loan January 10, 1996 - Feburary 12, 1996)
Published ReferencesEliot Nusbaum, "Art Center Purchases Two New Works," DES MOINES REGISTER, Metro and Iowa News, Dec. 31, 1991
DMAC News, Mar./Apr. 1992, cover ill.
Eliot Nusbaum, "Guston's Friend: A Daring Choice," DES MOINES SUNDAY REGISTER, June 7, 1992
Arthur Orduna, "I. Michael Danoff, Director of the Des Moines Art Center: A New Perspective," DES MOINES SKYWALKER, Jan. 22 - 29, 1992, p.11
Michael Kimmelman, "The Abstract Expressionist of Music," THE NEW YORK TIMES, Sunday, July 28, 1996, p.28, Section 8
AN UNCOMMON VISION: THE DES MOINES ART CENTER, Des Moines Art Center, 1998, ref. p.128, color ill. p.129
"Intuition & Response: Masterworks from the Edward R. Broida Collection", Jacksonville Museum of Modern Art, 2003, color photo, pg.6, ref. pg.7
Ryan Dohoney, "MORTON FELDMAN: Friendship and Mourning in the New York Avant-Garde", Bloomsbury Academic Publishing, New York, 2022,illus. pg. 163
Born in Montreal, Canada, in 1913, Guston moved to Los Angeles with his family at the age of six. While studying art in Los Angeles, Guston became good friends with Jackson Pollock, had his first one-artist show in 1931, and developed a strong interest in Mexican muralist art. In 1935 he moved to New York and joined the Works Progress Administration Federal Art Project as a mural painter. After completing several murals he resigned the WPA/FAP in 1940 and joined the faculty of the University of Iowa in 1941 and remained in Iowa City until 1945. In 1948 Guston was awarded the Prix de Rome with the American Academy in Rome. He made several trips to Italy to study Old Master painting.
Source: News, March/April 1992.
Guston worked in three distinctly different styles throughout his career. This is a ma
Exhibition History"Commitment, Community and Controversy: The Des Moines Art Center Collections," Des Moines Art Center, Jan. 24, 1998 - May 10, 1998
"From Body to Being: Reflections on the Human Image," Des Moines Art Center, Feb. 1 - Apr. 29, 1997
"Concert Eberhard Blum in honor to Morton Feldman" Berlinische Galerie, Martin-gropius-Bau, Berlin, Germany, Jan. 21, 1996 (loan January 10, 1996 - Feburary 12, 1996)
Published ReferencesEliot Nusbaum, "Art Center Purchases Two New Works," DES MOINES REGISTER, Metro and Iowa News, Dec. 31, 1991
DMAC News, Mar./Apr. 1992, cover ill.
Eliot Nusbaum, "Guston's Friend: A Daring Choice," DES MOINES SUNDAY REGISTER, June 7, 1992
Arthur Orduna, "I. Michael Danoff, Director of the Des Moines Art Center: A New Perspective," DES MOINES SKYWALKER, Jan. 22 - 29, 1992, p.11
Michael Kimmelman, "The Abstract Expressionist of Music," THE NEW YORK TIMES, Sunday, July 28, 1996, p.28, Section 8
AN UNCOMMON VISION: THE DES MOINES ART CENTER, Des Moines Art Center, 1998, ref. p.128, color ill. p.129
"Intuition & Response: Masterworks from the Edward R. Broida Collection", Jacksonville Museum of Modern Art, 2003, color photo, pg.6, ref. pg.7
Ryan Dohoney, "MORTON FELDMAN: Friendship and Mourning in the New York Avant-Garde", Bloomsbury Academic Publishing, New York, 2022,illus. pg. 163
DimensionsFrame: 69 1/2 × 89 3/8 × 2 1/4 in. (176.5 × 227 × 5.7 cm)
Canvas (/image): 68 × 88 in. (172.7 × 223.5 cm)
Canvas (/image): 68 × 88 in. (172.7 × 223.5 cm)
Accession Number 1991.48
Classificationspainting
SignedPhilip Guston (l,r oil paint)
ProvenanceArtist; (David McKee Gallery, New York). Doris and Charles Saatchi, London [acquired by 1980]; (Gagosian Gallery, New York); Des Moines Art Center [purchased from the previous, 1991]
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