Arshile Gorky

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Template:Short description Template:Infobox artist Arshile Gorky (Template:IPAc-en Template:Respell; born Vostanik Manoug Adoian, Template:Langx; April 15, 1904 – July 21, 1948) was an Armenian-American painter who had a seminal influence on Abstract Expressionism. He spent the last years of his life as a national of the United States.<ref>Template:Cite web</ref> Along with Mark Rothko, Jackson Pollock and Willem de Kooning, Gorky has been hailed as one of the most powerful American painters of the 20th century. The suffering and loss he experienced in the Armenian genocide had crucial influence on Gorky's development as an artist.

Early life

Vostanik Adoian was born in the village of Khorgom (today's Dilkaya), situated on the shores of Lake Van in the Ottoman Empire<ref>Kerr, Melissa (2009). "Chronology", in: Michael R. Taylor (ed.), Arshile Gorky: A Retrospective. Philadelphia, Pa.: Philadelphia Museum of Art. Template:ISBN. pp. 352–365; here: p. 353. Also available on the website of the Arshile Gorky Foundation. "...Template:Nbspborn in the village of Khorkom, within the Armenian province of Van, on the eastern border of Ottoman Turkey".</ref> (modern-day Turkey). His birthdate is often cited as April 15, 1904, but the year might have been 1902 or 1903.<ref>Kerr, Melissa (2009). "Chronology", in: Michael R. Taylor (ed.), Arshile Gorky: A Retrospective. pp. 352–365; here: 353, 366. Also available on the website of the https://www.arshilegorkyfoundation.org/artist/chronology Arshile Gorky Foundation]. Kerr gives Gorky's birth date in the chronology as "c. 1902". In a footnote she states that the often cited birth date of April 15, 1904 is the date that Gorky declared on his citizenship papers. She goes on to recount other conflicting reports of his birth date, including the fact that "his older sisters maintained that he was born in 1902 or 1903"; she finally concludes that "the 1902 birth date seems most plausible" (p. 366). What Kerr does not mention, however, is that the date that actually appears in the citizenship papers is not 1904 but 1903. Gorky's "Petition for Naturalization", filed in New York on January 18, 1939, as well as his earlier "Declaration of Intention", filed on May 7, 1936, both give the date of birth as April 15, 1903. The citizenship documents are retrievable via Ancestry.com; the citation: National Archives and Records Administration, Washington D.C. Petitions for Naturalization from the U.S. District Court for the Southern District of New York, 1897–1944, NARA Series: M1972, Roll 1173. Arshile Gorky, Petition No. 321324.</ref> Toward the end of his life, he was particularly vague about his date of birth, changing it from year to year. In 1908, his father emigrated to the United States to avoid the draft, leaving his family behind in the town of Van.<ref>Template:Cite book</ref> He settled in Providence, Rhode Island.<ref>Template:Cite web</ref>

File:Arshile Gorky, The Artist and His Mother.jpg
Arshile Gorky's The Artist and His Mother (Template:Circa), Whitney Museum of American Art, New York City.

In 1915, he fled Lake Van during the Armenian genocide and escaped with his mother and three sisters into Russian-controlled territory. In the aftermath of the genocide, his mother died of starvation in Yerevan in 1919. Arriving in America in 1920, at the age of 16, he was reunited with his father, but they never grew close.<ref>Template:Cite book</ref>

In the process of reinventing his identity, he changed his name to "Arshile Gorky", claiming to be a Georgian noble<ref>Template:Cite web</ref> (taking the Georgian name Arshile/Archil), and even telling people he was a relative of the Russian writer Maxim Gorky.<ref>Template:Cite web</ref>

Career

File:Portrait of Master Bill.jpg
Arshile Gorky's Portrait of Master Bill, 1929–1936. Oil on canvas.

In 1923, Gorky enrolled in the recently founded New England School of Art in Boston, eventually becoming a part-time instructor. During the early 1920s he was influenced by Impressionism, although later in the decade he produced works that were more postimpressionist. During this time he was living in New York and was influenced by Paul Cézanne. In 1925, he was asked by Edmund Greacen of the Grand Central Art Galleries to teach at the Grand Central School of Art; Gorky accepted and remained with them until 1931.<ref>Template:Cite web</ref> His notable students included Revington Arthur.Template:SfnTemplate:Pn<ref>Template:Cite book</ref>

In 1927, Gorky met Ethel Kremer Schwabacher and developed a lifelong friendship. Schwabacher was his first biographer. Gorky said:

The stuff of thought is the seed of the artist. Dreams form the bristles of the artist's brush. As the eye functions as the brain's sentry, I communicate my innermost perceptions through the art, my worldview.<ref>Abstract Expressionism, by Barbara Hess, Taschen, 2005, pg 10</ref>

In 1931, Gorky sent a group of works ranging in price from $100 to $450 to the Downtown Gallery in New York. (The artist's name was spelled "Archele Gorki" in the gallery's records. Most of Gorky's works from this period were unsigned.) The exact nature of their relationship is unknown. Mrs. John D. Rockefeller (Abby Aldrich Rockefeller) purchased from the gallery a Cézannesque still life by Gorky titled Fruit. Gorky may have been introduced to the gallery owner by Stuart Davis who regularly exhibited there.Template:Sfn

In 1935, Gorky became one of the first artists employed by the Works Progress Administration Federal Art Project. This later came to include such artists as Alice Neel, Lee Krasner, Jackson Pollock, Diego Rivera and Mark Rothko.

In 1935, Gorky signed a three-year contract with the Guild Art Gallery (37 West Fifty-seventh Street, New York). Co-owned by Anna Walinska and Margaret Lefranc, but funded and directed by Lefranc, the gallery organized the artist's first solo exhibition in New York, Abstract Drawings by Arshile Gorky.

Notable paintings from this time include Landscape in the Manner of Cézanne (1927) and Landscape, Staten Island (1927–1928). At the close of the 1920s and into the 1930s he experimented with cubism, eventually moving to surrealism. The painting illustrated above, The Artist and His Mother (ca. 1926–1936), is a memorable, moving and innovative portrait. His The Artist and His Mother paintings are based on a childhood photograph taken in Van in which he is depicted standing beside his mother. Gorky made two versions; the other is in the National Gallery of Art in Washington, D.C. The painting has been likened to Ingres for simplicity of line and smoothness, to Egyptian funerary art for pose, to Cézanne for flat planar composition, to Picasso for form and color.<ref name="Matossian 2000, pp.214–215">Matossian, Nouritza. Black Angel, The Life of Arshile Gorky. Overlook Press, NY 2000, pp. 214–215</ref>

Nighttime, Enigma, Nostalgia (1930–1934) are the series of complex works that characterize this phase of his painting. The canvas Portrait of Master Bill appears to depict Gorky's friend, Willem de Kooning. De Kooning said: "I met a lot of artists – but then I met Gorky ... He had an extraordinary gift for hitting the nail on the head; remarkable. So I immediately attached myself to him and we became very good friends. It was nice to be foreigners meeting in some new place."<ref name="Abstract Expressionism 1990, p. 44">Abstract Expressionism, Creators and Critics, edited by Clifford Ross, Abrams Publishers, New York 1990, p. 44 Template:ISBN</ref><ref name="American Master 2005, p.210">de Kooning An American Master, Mark Stevens and Annalyn Swan, Alfred A. Knopf New York 2005, p. 210, Template:ISBN</ref><ref>Willem de Kooning (1969) by Thomas B. Hess</ref> However recent publications contradict the claim that the painting is of de Kooning but is actually a portrait of a Swedish carpenter Gorky called Master Bill who did some work for him in exchange for Gorky giving him art lessons.Template:Sfn

File:Archives of American Art - Arshile Gorky - 3043.jpg
Arshile Gorky working on Activities on the field, one of the panels for his mural Aviation at Newark Airport, for the Federal Art Project, 1936

When Gorky showed his new work to André Breton in the 1940s, after seeing the new paintings and in particular The Liver Is the Cock's Comb, Breton declared the painting to be "one of the most important paintings made in America" and he stated that Gorky was a Surrealist, which was Breton's highest compliment.<ref>Matossian, Nouritza. Black Angel, The Life of Arshile Gorky. Overlook Press, NY 2000, pp. 352–357</ref> The painting was shown in the Surrealists' final show at the Galérie Maeght in Paris in 1947.<ref>Feaver, William. "The mysterious art of Arshile Gorky", The Guardian, February 6, 2010. Retrieved June 10, 2010.</ref>

Michael Auping, a curator at the Modern Art Museum in Fort Worth, saw in the work a "taut sexual drama" combined with nostalgic allusions to Gorky's Armenian past.<ref>Kimmelman, Michael. "Art view; A restless borrower, and his own man", The New York Times, May 21, 1995. Retrieved June 10, 2010.</ref> The work in 1944 shows his emergence in the 1940s from the influence of Cézanne and Picasso into his own style, and is perhaps his greatest work.<ref name=plain>"Six masterpieces", The Plain Dealer, June 13, 2004. Retrieved June 10, 2010.</ref> It is over six feet high and eight feet wide, depicting "an abstract landscape filled with watery plumes of semi-transparent color that coalesce around spiky, thorn like shapes, painted in thin, sharp black lines, as if to suggest beaks and claws."<ref name=plain/>

Personal life

Artist Corinne Michelle West was Gorky's muse and probably his lover, although she refused to marry him when he proposed several times.<ref>Template:Cite web</ref>

In 1941, Gorky met and married Agnes Ethel Magruder (1921–2013), daughter of Admiral John Holmes Magruder, Jr. (1889–1963). Gorky soon nicknamed her "Mougouch", an Armenian term of endearment. They had two daughters, Maro and Yalda (renamed Natasha some months later). Maro Gorky became a painter, and married the British sculptor and writer Matthew Spender, son of the poet Sir Stephen Spender.<ref>"Matthew Spender." Contemporary Authors Online. Gale, 2017. Retrieved via Biography in Context database, 2017-12-16.</ref>

From 1946, Gorky suffered a series of crises: his studio barn burned down (destroying his library and thirty of his paintings);<ref name="Forbes">Template:Cite book</ref> he underwent a colostomy for cancer; Mougouch had an affair with Roberto Matta. In 1948, Gorky's neck was broken and his painting arm temporarily paralyzed in a car accident, and his wife left him, taking their children with her. She later married British writer Xan Fielding.<ref>Template:Cite web</ref>

On July 21, 1948, after telling a neighbor and one of his students that he was going to kill himself, Gorky was found hanged in his barn studio. On a nearby wooden crate he had written "Goodbye My Loveds".<ref name="Forbes" /> Gorky is buried in North Cemetery in Sherman, Connecticut.<ref>Template:Cite web</ref> Template:Clear

Legacy

File:The Liver is the Cock's Comb.jpg
Arshile Gorky. The Liver is the Cock's Comb (1944), oil on canvas, Template:Cvt, Albright–Knox Art Gallery, Buffalo, New York. The painting represents the peak of Gorky's achievement and his individual style, after he had emerged from the influence of Cézanne and Picasso.<ref name=plain/>

Gorky's contributions to American and world art are difficult to overestimate. His work as lyrical abstraction<ref>Template:Cite web</ref><ref name =dorment>Dorment, Richard. "Arshile Gorky: A Retrospective at Tate Modern, review", The Daily Telegraph, 8 February 2010. Retrieved May 24, 2010.</ref><ref>Art Daily retrieved May 24, 2010</ref><ref>"L.A. Art Collector Caps Two Year Pursuit of Artist with Exhibition of New Work", ArtDaily. Retrieved 26 May 2010. "Lyrical Abstraction ... has been applied at times to the work of Arshile Gorky"</ref><ref>"Arshile Gorky: A Retrospective" Template:Webarchive, Tate, February 9, 2010. Retrieved June 5, 2010.</ref><ref>Van Siclen, Bill. "Art scene by Bill Van Siclen: Part-time faculty with full-time talent" Template:Webarchive, The Providence Journal, July 10, 2003. Retrieved June 10, 2010.</ref> was a "new language.<ref name=dorment/> He "lit the way for two generations of American artists".<ref name=dorment/> The painterly spontaneity of mature works like The Liver is the Cock's Comb (1944), One Year the Milkweed (1944), and The Betrothal II (1947) immediately prefigured Abstract expressionism, and leaders in the New York School have acknowledged Gorky's considerable influence. Gorky had a distinct, signature style and was known for his draftsmanship. He used twisted but elegant lines to bring in 'biomorphic' forms in his abstract paintings along with an overlay of colours to create a complex landscape of lines and colours on the canvas.<ref>Template:Cite book</ref>

His oeuvre synthesizes Surrealism and the sensuous color and painterliness of the School of Paris with his own highly personal formal vocabulary. His paintings and drawings hang in every major American museum including the National Gallery of Art, the Museum of Modern Art, the Art Institute of Chicago, the Metropolitan, Jordan Schnitzer Museum of Art in Eugene, and the Whitney Museum of American Art in New York (which maintains the Gorky Archive), and in many worldwide, including the Tate in London.<ref>Template:Cite web</ref>

A selection of Gorky's letters were translated and published by Karlen Mooradian in Arshile Gorky Adoian and The Many Worlds of Arshile Gorky in 1980. Matthew Spender (1999) and Nouritza Matossian (2000) concluded from their research that the translations of Gorky's letters to his younger sister, Vartoosh, published by her son, Mooradian, had been embellished and some of these letters were fabricated by Mooradian.<ref>[From a High Place. A Life of Arshile Gorky, By Matthew Spender, 2000, p. xxii-xxiii]</ref> The most accurate translations of Gorky's letters to family and friends were published at Goats on the Roof: A Life in Letters and Documents (2009), edited by Spender with translations by Father Krikor Maksoudian.<ref>[The Forging of an Artistic Identity: A Gorky Retrospective, by Jean Murachanian, Asbarez, July 2, 2010]</ref>

Fifteen of Gorky's paintings and drawings were destroyed in the crash of American Airlines Flight 1 in 1962.<ref>Template:Cite web</ref>

In June 2005, the family of the artist established the Arshile Gorky Foundation, a not-for-profit corporation formed to further the public's appreciation and understanding of the life and artistic achievements of Gorky. The foundation is working on a catalogue raisonné of the artist's entire body of work. In October 2009, the foundation relaunched its website to provide accurate information on the artist, including a biography, bibliography, exhibition history, and list of archival sources.<ref>Template:Cite web</ref>

File:Arshile Gorky 2020 stampsheet of Armenia.jpg
A 2020 stamp sheet of Armenia featuring Gorky and his paintings Untitled (1944), Abstraction (1936), Landscape-Table (1945) and Untitled (1941)

Without Gorky is a documentary film about the artist, made by Cosima Spender, his granddaughter.<ref>"Without Gorky". The Arshile Gorky Foundation. arshilegorkyfoundation.org. Retrieved December 16, 2017.</ref>

In October 2009, the Philadelphia Museum of Art held a major Arshile Gorky exhibition: Arshile Gorky: A Retrospective.<ref>Holland Cotter, NyTimes review Retrieved October 23, 2009</ref><ref>Michael Hunter lecture, Philadelphia Museum Retrieved June 7, 2010</ref> On June 6, 2010, an exhibit of the same name opened at the Museum of Contemporary Art (MOCA) in Los Angeles.<ref>"Current Exhibitions" MOCA.org Retrieved July 11, 2010</ref> In 2021, during routine maintenance of "The Limit," a hidden painting was discovered underneath; both paintings were exhibited and included in the latest catalogue of his work.<ref>Template:Cite web</ref>

In 2015, a fountain monument commemorating Gorky was erected in Edremit, a town near his birthplace. After the town's People's Democracy Party administration was replaced by government appointees the water supply to the fountain was cut off, the taps were broken off, and signs with Gorky's biography in four languages – Armenian, Kurdish, English and Turkish – were removed from the monument.<ref>Template:Cite web</ref>

Gorky's estate has been represented by Hauser & Wirth since 2016. It previously worked with Gagosian Gallery.<ref>Alex Greenberger (October 3, 2016), Hauser & Wirth Now Represents the Estate of Arshile Gorky ARTnews.</ref>

In October 2023 a potential work by Gorky, partially covered in white household paint by the artist himself, was the subject of an episode in the BBC art history series Fake or Fortune?<ref>Template:Cite web</ref>

Bibliography

References

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Further reading

  • Matossian, Nouritza (2001). Black Angel: The Life of Arshile Gorky. New York: Overlook Press. Template:ISBN.
  • Meaker, M.J. (1964). Sudden Endings: 13 Profiles in Depth of Famous Suicides. Garden City, NY: Doubleday & Company, Inc. pp. 151–167: "The Bitter One: Arshile Gorky".
  • Rosenberg, Harold (1962). Arshile Gorky: The Man, the Time, the Idea. New York: Grove Press.
  • Spender, Matthew (1999). From a High Place: A Life of Arshile Gorky. New York: Knopf. Template:ISBN.
  • Spender, Matthew (2009). Arshile Gorky: A Life Through Letters and Documents. London: Ridinghouse, London. Template:ISBN.

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