Gorkys keys worksThe main work of Gorky’s early period is the Artist and HisMother (ca. 1926-1929), a two piece portrait composed of cool gracefulshapes, which proposes an air of stillness. Though this portrait was kept inrelation to its painterly capabilities, trusting profoundly on the fine gracefulline of Ingres, Gorky was concurrently discovering the colour space combination of Paul Cézanne (Staten Island, 1927/1928)and the surrealist-inspired figurative stage of Picasso (Still Life, 1929).
This future focus, in surrealistbiomorphic shape, Gorky mastered and stretched during the next two decades(Rosenberg 1962).Gorky’s practice throughoutthe 1930s was very much detached amongst drawing and painting. The rathergeometrical Organization Series (1933-1936) was perhaps aresult of the artist’s reflection of the work of Josef Albers. Gorky’s Aviationmural (a Federal Art Project commission now lost), the theme of whichwas recurrent in the Aviation murals for the 1939 New YorkWorld’s Fair, broke away from the more surrounded methods of the OrganizationSeries and exploited photomontage and cubist symbolic space. As publicart, Gorky’s murals did not try to create an easy visual experience for thenonprofessional. (Waldmann,1981)Near the end of the1930s, as Gorky ascended under the inspiration of the work of André Masson, hiswork looked to be reliant less on explicit orientations certifiable to theviewer, but striving more on a felt memory specified in his emerging, vibrantpalette. The Image of Xhorkhom (ca. 1936) exists in four formsand, like the many versions of his Garden in Sochi (1938-1940),allegedly refers by its title to the memory of things past.
The later series isan extension since the previous, with the images grown more delicate andcleaner in shape, the surfaces less tightly painted, and the legibility of theartist’s forms increasingly vague as Gorky achieved a entire transformation offloral and structural imagery (R. Taylor.2009). Gorkys last Main works evaluationsGorky’s precedingyears observed a further postponement of surrealist devices, enthused by the existencein America of Roberto Matta Echaurren and far along by the coming of theremaining group of surrealists headed by André Breton.
Gorky’s application ofpaint achieved a greater freedom, the subsequent images outstanding through thethin pigment, as in the Pirate I (1942). His palette amplifiedin strength, and great clouds of glowing colourseemed to vibrate from The Liver Is the Cock’s Comb (1944).However, through the similar period, Gorky could go to the arabesque line ofIngres and the faint hues present in his Good Afternoon, Mrs. Lincoln (1944).
In the works of the last two years of his life, of which Agony (1947) And Bethrothal 2 (1947) areexemplary, Gorky successfully achieved the visual descriptions of his new-feltexperiences. Gorky’s ownachievement was also ostensible before 1930. In this abstract still life,signed and dated 1929, the representative skin of cubism has already beenpeeled. The surface is thick with repeated overpainting’s and modifications, and rough as a scratch coat ofplaster, but the sombre orchestration ofgeometric and biomorphic shapes in saturated tones of blue, red, black, tan andbeige is wholly effective.
Within the cubist discipline, Gorky’s dialecticexactness and abandon, preparation and improvisations, and colour and line,was carried to brilliant accomplishment after 1944. American Abstract artist Arshile Gorky has aplace on top row. In different ways, heinfluenced several who were to become themselves most influential: de kooning, Pollock, Rothko and nakian.
Gorky’s individualwork is practically an illustrative symbol of the assimilation of Europeanpainting on the other side of the Atlantic and its conversion into a newsubstance. Not least, Gorky provided a defining image in the passion of post war American Painting. (waldmann,1981.)