Philip Evergood
Ku Klux Klan, Racism, Lynching , KKK - Civil Rights, ca. 1958
Oil on canvasboard
25 × 25 in / 63.5 × 63.5 cm
$ 110,000.00
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Evergood is decades ahead of his time in actively and openly shouting out against racial injustice. Painted in the late 1950's, KKK is an important work. For Philip Evergood (born...
Evergood is decades ahead of his time in actively and openly shouting
out against racial injustice. Painted in the late 1950's, KKK is an
important work. 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.”
Hand-signed by the artist, sticker label, signed lower left. Work is
framed in an inexpensive period wood frame.
out against racial injustice. Painted in the late 1950's, KKK is an
important work. 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.”
Hand-signed by the artist, sticker label, signed lower left. Work is
framed in an inexpensive period wood frame.