Medium
Image rights
Courtesy Blanton Museum of Art

For Philip Evergood (born Philip Blashki), painting was a form of social protest. In 1923, he studied at the Art Students League under George Luks, where he began painting contemporary life with artists John Sloan and Reginald Marsh. But it was the Great Depression that inspired the most drastic change in the artist’s oeuvre, as he turned to drawing horrific scenes of poverty directly from the city’s streets. At the same time, he became an advocate for social change, serving as managing supervisor of the New York WPA easel project and president of the Artists Union. More concerned with conveying emotion than beautiful composition, and influenced by El Greco, Paul Cézanne, and the Surrealists, he used what he described as “the nasty color or sickly color, the sweet color or violent color or pretty-pretty-dolly color that will express the mood of what I’m trying to put over.”

Collected by major museums
Museum of Modern Art (MoMA), Indianapolis Museum of Art at Newfields
Selected exhibitions
2021
Then and Now: American Social RealismForum Gallery
2019
Summer ExhibitionDebra Force Fine Art
2017
Colorful ImpressionsDebra Force Fine Art
View all

Dance Marathon, 1934

Oil on canvas
60 1/10 × 40 in
152.6 × 101.7 cm
Location
Austin
Medium
Image rights
Courtesy Blanton Museum of Art

For Philip Evergood (born Philip Blashki), painting was a form of social protest. In 1923, he studied at the Art Students League under George Luks, where he began painting contemporary life with artists John Sloan and Reginald Marsh. But it was the Great Depression that inspired the most drastic change in the artist’s oeuvre, as he turned to drawing horrific scenes of poverty directly from the city’s streets. At the same time, he became an advocate for social change, serving as managing supervisor of the New York WPA easel project and president of the Artists Union. More concerned with conveying emotion than beautiful composition, and influenced by El Greco, Paul Cézanne, and the Surrealists, he used what he described as “the nasty color or sickly color, the sweet color or violent color or pretty-pretty-dolly color that will express the mood of what I’m trying to put over.”

Collected by major museums
Museum of Modern Art (MoMA), Indianapolis Museum of Art at Newfields
Selected exhibitions (3)
Other works by Philip Evergood
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