Philip Evergood, ‘Untitled, Boy Eating Watermelon’, 1960, Robert Funk Fine Art
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Philip Evergood

Untitled, Boy Eating Watermelon, 1960

Oil on canvas
24 1/4 × 24 1/2 in
61.6 × 62.2 cm
This is a unique work.
$29,500
Have a question? Visit our help center.
About the work
Provenance
Robert Funk Fine Art
Miami

The work looks much better in person with snappy bright colors that form a complex abstract …

Medium
Painting
Condition
Excellent
Signature
Hand-signed by artist, sticker label, The 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, ‘Untitled, Boy Eating Watermelon’, 1960, Robert Funk Fine Art
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Save
Save
View
View in room
Share
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About the work
Provenance
Robert Funk Fine Art
Miami

The work looks much better in person with snappy bright colors that form a complex abstract composition of interconnected shapes.

Medium
Painting
Condition
Excellent
Signature
Hand-signed by artist, sticker label, The 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

Untitled, Boy Eating Watermelon, 1960

Oil on canvas
24 1/4 × 24 1/2 in
61.6 × 62.2 cm
This is a unique work.
$29,500
Have a question? Visit our help center.
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