Ažurirano: новембар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 111 dela Filip Gaston u našem katalogu
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Od svih originala koje je Filip Gaston ostavio, najpoznatiji je The Pit (1976). Odmah za njima slede The Room (1970) i Early Mail Service and Construction of Railroads (mural study, Commerce, Georgia Post Office) (1938). Naš katalog sadrži 111 dela umetnika Filip Gaston; galerija je čuvala 97 dela koja svet najviše admira, od kojih je svako prikazano sa svojim datumom, muzejom i pričom.
We are looking at The Pit, a significant work by Philip Guston from 1976. This oil on canvas belongs to his Cyclops series, a period where his approach to the canvas underwent a profound transformation. It is a piece that marks a definitive departure from his earlier explorations, settling instead into a highly personal and direct mode of expression.
The painting titled The Room was created by the artist Philip Guston. This work was produced in 1970. It is categorized within the Neo Expressionism style, a movement characterized by its departure from pure abstraction toward a more direct, figurative mode of representation.
Last Piece is not Guston's last Abstract Expressionist painting, but it represents a transition away from the shimmering forms of the early 1950s towards the recognizable motifs of his later, more figurative works. If Buddhism, and concepts of nothingness, had informed his earlier abstractions, this represents a move away from those inspirations.
Guston painted Gladiators in a social-realist style favored by many left-leaning artists in the 1930s, a style that reflected in part the political and aesthetic influence of the Mexican muralist movement led by Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros. At the time he painted Gladiators, Guston was painting murals in New York as part of a Works Progress Administration (WPA) program. Hooded Klansmen first appeared in his…
Philip Guston’s “The Palette,” painted in 1975, is a monumental work that offers a raw and unsettling glimpse into the artist's creative process. This large-scale canvas (132 x 202 cm) transcends traditional representation, plunging viewers into a dreamlike studio environment brimming with color, form, and implied narrative. It’s a piece that resonates deeply within the realm of Abstract Expressionism while hinting at later figurative explorations.
Bombardment1937
12
Monopoly1964 · Parrish Art Museum
13
Martial Memory1941
14
The Young Mother1944
15
Porch II1947
16
The Tormentors1948
17
Study for Tormentors1947
18
The Porch1947
19
Painting No. 61951
20
Painting No. 91952
21
Ischia1949
22
Untitled1950
23
Loft I1950
24
Review1949
25
Red Painting1950
26
Three things are necessary for the salvation of man to know what he ought to believe to know what he ought to desire and to know what he ought to do. St. Thomas Aquinas, Two Precepts of Charity, 1273. From the series Great Ideas of Western Man1952
27
Drawing Related to Zone (Drawing No. 19)1954
28
Late April1961 · Izraelski muzej
29
Duo1961
30
Rite1958 · Art Institute of Chicago
31
Close Up III1961
32
To Fellini1958
33
Celebration1961
34
Inhabiter1965
35
Open Washes1966
36
Untitled (Book)1968
37
Untitled1968
38
City1968
39
Brushes1969
40
Discussion I1969
41
Shoes1968
42
Untitled1973
43
Untitled (Cup)1973
44
Untitled (Wall)1971
45
Painter in Bed1973
46
Roma1971
47
Painting, Smoking, Eating1972
48
Figure in Interior1970
49
Daydreams1970
50
The Street from Ten Lithographs by Ten Artists1971
51
Cerveteri1972
52
Pantheon1973
53
Web1975
54
The Street1977
55
Back View1977
56
Couple in bed1977
57
Deluge II1975
58
Ancient Wall1976
59
Midnight Pass Road1975
60
Monument1976
61
Inside - Outside1977
62
Head and Bottle1975
63
Summer1980
64
Wheel1980
65
Room1980
66
East Side1980
67
Untitled (8)1980
68
As It Goes1978
69
Painter's Forms No. 21978
70
Tomb1978
71
Door1981
72
Studio Corner1981
73
Remains from Eight Lithographs to Benefit the Foundation for Contemporary Performance Arts, Inc1981
74
Gulf1983
75
Painter1983
76
City Limits1969
77
Drawing for Conspirators1930 · Whitney Museum of American Art
78
Curtain
79
Days Work
80
Untitled (9)
81
Box Tree, Rome
82
Clock
83
The return
84
Room
85
Entrance
86
Green Rug
87
Inscapes. Words and Images
88
Talking
89
Sleeping
90
A Critical Study
91
The lesson
92
Outskirts
93
Moon
94
Box and Shadow
95
Two fat feet
96
Head
97
Transition1975
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka sa svojim vrhunskim primerom.
5 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Filip Gaston | Slike iz ovog spiska |
|---|---|---|---|
 Smithsonian American Art Museum |
Vašington, D.C. | 1 | Early Mail Service and Construction of Railroads (mural study, Commerce, Georgia Post Office) |
 Parrish Art Museum |
Water Mill | 1 | Monopoly |
 Izraelski muzej |
Jerusalim | 1 | Late April |
 Art Institute of Chicago |
Čikago | 1 | Rite |
 Whitney Museum of American Art |
Njujork | 1 | Drawing for Conspirators |
Izaberite deceniju da biste videli original koji je definiše.
Guston painted Gladiators in a social-realist style favored by many left-leaning artists in the 1930s, a style that reflected in part the political and aesthetic influence of the Mexican muralist movement led by Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros. At the time he painted Gladiators, Guston was painting murals in New York as part of a Works Progress Administration (WPA) program. Hooded Klansmen first appeared in his…
We are looking at The Pit, a significant work by Philip Guston from 1976. This oil on canvas belongs to his Cyclops series, a period where his approach to the canvas underwent a profound transformation. It is a piece that marks a definitive departure from his earlier explorations, settling instead into a highly personal and direct mode of expression.
The Pit (1976). Slede The Room (1970) i Early Mail Service and Construction of Railroads (mural study, Commerce, Georgia Post Office) (1938).
63 godina: The Pit datira iz 1976, a Filip Gaston je rođen/a 1913.
The Pit, The Room, Early Mail Service and Construction of Railroads (mural study, Commerce, Georgia Post Office), Painter III, To B.W.T., The Studio, Agean, Last Piece, Gladiators i The Palette. Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 111 dela umetnika Filip Gaston, datiranih od 1930 do 1980.
Većinom u Smithsonian American Art Museum (Vašington, D.C.), Parrish Art Museum (Water Mill) i Izraelski muzej (Jerusalim). Tabela muzeja iznad sadrži njih sve.
U 1970s: 28 od 97 dela na ovoj stranici nastalo je tada, od čega je The Pit.
Na ovoj stranici, najstarije delo je iz Drawing for Conspirators (1930), a najnovije iz Agean (1980).
Symbols (9), Arts (4) i Buildings (4), kroz svih 97 dela na ovoj stranici.
Oil On Canvas, za 2 od 97 dela na ovoj stranici.
Neo expressionism, sudeći po originalima na ovoj stranici.
Filip Gaston bio je čuveni kanadsko-američki slikar i grafičar čija se karijera protezala kroz više od četiri decenije. Njegov umetnički put obeležen je značajnim preobracajima u stilu i tematici, spajajući elemente apstraktnog ekspresionizma i figurativne umetnosti kako bi istražio složene teme rasizma, antisemitizma, fašizma i američkog identiteta.
Gastonovo rano detinjstvo duboko je pogodila tragedija. Njegov otac, ukrajinski jevrejski imigrant, oduzeo je sebi život 1923. godine. Ovaj događaj je snažno uticao na Gastonov umetnički razvoj. Počeo je da crta u mladom uzrastu i pohađao srednju školu „Manual Arts“ u Los Anđelesu, gde je 1ica počeo da slika 1927. godine. Uz podršku majke, često je stvarao umetnost u malom ormaru pod svetlom jedine viseće sijalice.
Gastonova umetnička karijera može se široko podeliti u dve različite faze. U početku, njegov rad je bio figurativan i reprezentativan, prikazujući rane uticaje renesansnih majstora poput Pjera dela Frančeske. Kasnije je prihvatio apstrakciju, postajući istaknuta figura Njujorške škole uporedo sa umetnicima kao što su Džekson Polok i Viljem de Kuning.
Gastonova kasnija dela su možda najkontroverznija i najuticajnija u njegovoj karijeri. Ove slike su često sadržale mračne, satirične elemente, uključujući crteže Ričarda Niksona i pripadnika Ku Klansa sa kapuljačama. Istraživao je teme rasizma, antisemitizma i američkog identiteta sa sirovom iskrenošću koja je izazvala tradicionalne umetničke norme.
Nasleđe Filipa Gastona nastavlja da inspiriše umetnike i ljubitelje umetnosti podjednako. Njegova jedinstvena perspektiva i umetnički stil ostavili su neizbrisiv trag u svetu umetnosti.
