Philip Guston, ‘The Day’, Christie's

Philip Guston (1913-1980)

The Day

signed, titled and dated 'Philip Guston The Day 1964' (on the reverse)

oil on canvas

77 x 80 in. (195.5 x 203.2 cm.)

Painted in 1964.

Signature: signed, titled and dated 'Philip Guston The Day 1964' (on the reverse)

Santa Barbara Museum of Art, Phillip Guston, February-March 1967.

Cambridge, Harvard University, Fogg Art Museum, June 1970.

Boston, Institute of Contemporary Art, A Selection of American Art: The Skowhegan School 1946-76, May-November 1976.

Boston, Federal Reserve Bank, New England Connections: An Exhibition of Paintings and Drawings, November 1978-January 1979.

Boston, Museum of Fine Arts, A Private Vision: Contemporary Art from the Graham Gund Collection, February-April 1982, p. 93 (illustrated in color).

Boston, Museum of Fine Arts, Reflections of Monet, September 1998-January 1999.

S. Hunter and J. Jacobus, American Art of the Twentieth Century, New York, 1969, p. 237, no. 431 (illustrated in color).

M. W. Brown, T. C. Brakeley, et. al., American Art, New York, 1979, p. 491, no. 526 (illustrated).

Marlborough Gallery, New York

Acquired from the above by the present owner, June 1969

About Philip Guston

Best known for his cartoonish paintings and drawings from the late 1960s onwards, Philip Guston audaciously returned to figuration at the height of Abstract Expressionism. Guston created a lively cast of characters rendered in bold brushwork—sinister, hooded figures reminiscent of the Ku Klux Klan; cyclopean heads; and disembodied limbs. Seemingly mundane objects, such as bare light bulbs, shoes, cigarettes, and bricks were also imbued with personal meaning. A muralist with the government-funded Federal Art Project in the 1930s, an Abstract Expressionist in the 1950s and ‘60s, and a figurative painter in the last decades of his life, Guston is regarded as a leading figure in the creation of a new style of painting known as Neo-Expressionism.

American, 1913-1980, Montreal, Canada, based in New York, New York