Since Philip Guston's death in 1980, his late figurative paintings and drawings have steadily reaped the acclaim they deserve--acclaim that was largely denied them during Guston's lifetime (Hilton Kramer infamously reviewed Guston as a "mandarin pretending to be a stumblebum" in a damning 1970 New York Times article). This volume reunites a selection of paintings from the Roma series, completed during Guston's residency at the American Academy in Rome in 1970-71. From early in his career, Guston had taken inspiration from Italian art, and his 1973 painting "Pantheon" features a list of Italian painters: de Chirico, Masaccio, Piero della Francesca, Giotto and Tiepolo. Italian cinema (especially Fellini) and classical sculpture were also dear to his heart. The Roma works consolidate this dialogue with Italian art and culture. Diary entries published alongside the reproductions recount exchanges at the American Academy, pilgrimages to Venice, Arezzo, Sicily and Orvieto, and observations of the international cultural community in Rome.
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11 of 11 people found the following review helpful:
5.0 out of 5 stars
Every Guston leads to Rome,
By Claude Reich (Florianopolis, Brazil and Paris, France) - See all my reviews (TOP 1000 REVIEWER) (REAL NAME)
This review is from: Philip Guston: Roma (Hardcover)
In late 1970, after being panned by critics (Hilton Kramer, Robert Hughes...) following his notorious Marlborough Gallery exhibition in which he had revealed his conversion to figurative cartoonish painting, Philip Guston literally escaped to Rome, at the American Academy, where he stayed all through the year 1971 as a trustee and artist in residence. There he created a body of works, the Roma series, inspired by his surroundings, but still populated by his trade mark hooded figures or brick walls, many of those works oils on paper. This book illustrates an exhibition at the Phillips Collection, which earlier appeared in Rome, centered on this little-known series, and is full of high-quality illustrations and previously unpublished documents, such as his wife's journal entries during that period which constitute a precious and moving document on this important trip in Guston's career. The book is also a breakthrough study on Guston's Italian influences (Piero dela Francesca, De Chirico...) and is a welcome addition to the growing literature on the artist.
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