While I was still on the WPA I was submitting designs for the Section of Fine Arts competitions which I did on my own time. Burgoyne Diller gave me a… - Philip Guston
" "While I was still on the WPA I was submitting designs for the Section of Fine Arts competitions which I did on my own time. Burgoyne Diller gave me a mural to do in the Community Building of the Queensbridge Housing Project on Long Island. I worked on the design and cartoons for about a year. Everything was approved and the walls prepared - casein tempera painted on the wall... .[It was] about 1938. Holger Cahill asked me through Diller to do the outdoor facade mural of the WPA Building at the World's Fair. 1 stopped work on the Queens mural and began working on the Fair mural which was finished on schedule in time for the opening of the Fair.
English
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About Philip Guston
Philip Guston (1913-07-27 – 1980-06-07) was a notable painter of the New York School, which included many of the Abstract Expressionists such as Jackson Pollock and Willem De Kooning. In the 1960's Guston helped to lead the transition from Modernism to Post-Modernism in painting, abandoning the so-called 'pure abstraction' of Abstract Expressionism in favor of more cartoon-like renderings of various personal symbols and objects.
Also Known As
Alternative Names:
Philip Goldstein
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Phillip Goldstein
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Phillip (birth name - used before 1935) Goldstein
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Additional quotes by Philip Guston
..when I see people making quote 'abstract' painting, I think it's just a dialogue and a dialogue isn't enough, that is to say, there is you painting and this canvas. I think there has to be a third thing, it has to be a trialogue. Whether that third thing - it must be, to reverberate and make trouble, you have to have trouble and contradictions, it has to become complex because life is complex, emotions are complex, - whether that third element is a still life of something, or an idea or a concept, in each case it has to be a trialogue and above all has to involve you.. ..The real thing that matters is how involved you are in that.
There are so many things to paint in the world – in the cities – so much to see. Does art need to represent this variety and contribute to its proliferation? Can art be that free? The difficulties begin when you understand what it is that the soul will not permit the hand to make. To paint is always to start at the beginning again, yet being unable to avoid the familiar arguments about what you see yourself painting. The canvas you are working on modifies the previous ones in an unending, baffling chain which never seems to finish. (What sympathy is demanded of the viewer! He is asked to 'see' the future links).
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To answer your first question - most significantly the [ Federal Art Project ] project was my training ground in the real sense of the word. I feel very strongly about this. We were all poor, or most of us, and to have the time and opportunity to continue working - I was then in my twenties which is the important period - the crucial period for the young painter. This was most important and figures significantly in my own development. Although I feel that my personal image as a painter did not come about until I began my easel painting with personal imagery which was about 1941. The project kept me alive and working - it was my education.
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