Philip Evergood, ‘Little Rock’, ca. 1955, Robert Funk Fine Art
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Philip Evergood

Little Rock, ca. 1955

Oil on canvas
22 × 30 1/2 in
55.9 × 77.5 cm
.
$105,000
Have a question? Visit our help center.
About the work
Exhibition history
Provenance
Robert Funk Fine Art
Miami

Evergood's early commentary on racial issues in the 1950's depicts four black men gagged, …

Medium
Condition
Excellent
Signature
Hand-signed by artist, sticker label, Work is Signed lower left.
Philip Evergood
American, 1901–1973
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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.”

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Philip Evergood, ‘Little Rock’, ca. 1955, Robert Funk Fine Art
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View
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About the work
Exhibition history
Provenance
Robert Funk Fine Art
Miami

Evergood's early commentary on racial issues in the 1950's depicts four black men gagged, roped and hanging from a tree. In the background, imprisoned blacks look on thru a barbed wire fence. Whites watch in horror but do nothing to help. Meanwhile, a two legged and three headed serpent wraps himself around …

Medium
Condition
Excellent
Signature
Hand-signed by artist, sticker label, Work is Signed lower left.
Philip Evergood
American, 1901–1973
Follow

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.”

Philip Evergood

Little Rock, ca. 1955

Oil on canvas
22 × 30 1/2 in
55.9 × 77.5 cm
.
$105,000
Have a question? Visit our help center.
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