Paris was, from the onset of contemporary art, the primary cultural center worldwide. Renowned European artists of the 19th century and the first half of the 20th century made the city their home and workshop, transforming it into the cradle of the avant-garde movements of the time. The French metropolis gave rise to a school of artists that included geniuses like Picasso, Matisse, and Modigliani. However, nothing is eternal. The rise of totalitarian regimes and World War II relegated art to a secondary role in Europe, prompting Paris to pass the baton of cultural capital to the burgeoning New York City.
This shift in gravitational center was not accidental. In the 1940s and 50s, a group of around fifteen visual artists casually gathered in the Big Apple. These painters, who never recognized themselves as a collective and always upheld their individualism, formed what is known as the “New York School.” This label is more of a social designation than a stylistic uniformity, emphasizing the importance of the skyscraper city as a new center for creative trends and a significant art market.
Mark Rothko, Jackson Pollock, and Willem de Kooning were some of the leading figures of this magnificent generation, which gave birth to abstract expressionism. Philip Guston was another of its members. Born in Montreal in 1913, he soon left Canada for Los Angeles with his parents, a Jewish couple from Ukraine who had fled Europe to escape anti-Semitism. At fourteen, he enrolled in Los Angeles Manual Arts High School, where he studied alongside his friend Jackson Pollock.
In the 1930s, Guston began to work professionally. His early works were murals heavily influenced by Mexican artists like Siqueiros and Rivera but also referenced Renaissance masters such as Giotto, Masaccio, and Piero della Francesca. Many of these murals were funded by the WPA, the agency created under the New Deal—President Roosevelt’s interventionist policy aimed at pulling the United States out of the Great Depression through public works. The drawings and paintings Guston produced during this time were marked by his political and social ideas, reflecting his vision of human evil.
In 1937, he moved to New York, where his friend Jackson Pollock already resided. However, it wasn’t until a decade later that Guston’s painting evolved towards the abstract expressionism already being developed by his New York colleagues since the early 1940s. With a limited color palette of whites, grays, reds, and blacks, Guston created a distinctive style characterized by compositions where strokes tend to converge at the center of the canvas. Many associated his work with Monet and described it as abstract impressionism. For over fifteen years, the artist remained devoted to this painting style, but he ultimately became frustrated with abstraction and, amid widespread criticism, returned to figurative work. These new pieces were more playful than previous ones, reminiscent of cartoon and comic styles, yet contained the furious frustration that Guston harbored since childhood, having discovered his father hanging by a rope at just eleven years old and later suffering the loss of his brother.
The artist renounced the abstract expressionism that had elevated his generation and was treated as a deserter, a heretic abandoning the path laid out by doctrine. Guston believed that abstract art was false and detached from the brutal and unjust reality of the world. He then focused on the everydayness of life. He painted light bulbs, clocks, bottles, shoes, trash cans, bodies, heads… and hooded figures—a clear reference to the Ku Klux Klan and the narrow-mindedness of man. During this period, he also created the series “One-Shot-Painting,” an intimate work where Guston sought to eliminate the gap between thought and execution by painting in the mornings whatever he had envisioned the night before.
Years passed before Philip Guston’s later work was properly recognized. He died in 1980 in Woodstock, just as he was beginning to regain recognition after years of cultural ostracism. Postmodernism revitalized his last legacy, and today, both his figurative and abstract works are considered significant contributions to contemporary American painting.
For those wanting to explore Philip Guston’s work further, a visit to one of Europe’s premier contemporary art museums, the Louisiana Museum, is highly recommended—where an exhibition of his later works is currently taking place. Additionally, major museums like the MoMA and Tate Gallery feature Guston’s works in their collections, available to view on their websites.