the artist, Woodstock, N. Y. (1946–d. 1980); his widow, Musa Guston, Woodstock, N. Y. (1980–d. 1992); their daughter, Musa Guston Mayer, New York (from 1992; her promised gift to MMA)
New York. Riverside Museum. "'Best of Art' by Emily Genauer," February 6–22, 1948, unnumbered cat. (pl. 5).
New York. National Academy Galleries. "122nd Annual Exhibition," March 25–April 14, 1948, no. 139.
Iowa City. Iowa Memorial Union and Iowa Art Building, University of Iowa. "Fourth Summer Exhibition of Contemporary Art," June–July 1948, no. 43.
Washington, D.C. Corcoran Gallery of Art. "The Twenty-First Biennial Exhibition of Contemporary American Oil Paintings," March 27–May 8, 1949, no. 69.
Lincoln. Morrill Hall, University of Nebraska. "Nebraska Art Association 60th Annual Exhibition of Contemporary Art," March 5–April 2, 1950, no. 44.
Minneapolis. University Gallery, University of Minnesota. "Philip Guston," April 10–May 12, 1950, no. 13 (lent by Midtown Galleries).
Philadelphia. Pennsylvania Academy of the Fine Arts. "The One Hundred and Forty-Sixth Annual Exhibition of Painting and Sculpture," January 21–February 25, 1951, no. 164.
H. W. Janson. "Philip Guston." Magazine of Art 40 (February 1947), p. 58, ill., reproduces an earlier version of this work, titled "Somersault II".
John Grunberg. "Guston Uses Recurring Theme: Paintings Suggest Games of Children." Daily Iowan (June 26, 1948), p. 3, ill.
Emily Genauer. "This Week in Art: Abstraction Takes an Emotional Tack." New York World-Telegram (July 13, 1948), ill.
Margaret Lowengrund. "Artist at Large." Woodstock Weekly Window (July 22, 1948).
Mary Holmes. "Metamorphosis and Myth in Modern Art." Perspective (Winter 1948), ill. p. 77, dates it 1947.
Emily Genauer. Best of Art. Exh. cat., Riverside Museum. Garden City, N.Y., 1948, pp. xii, 15–16, 168, pl. 5.
"Philip Guston." Notes and Comments from the Walker Art Center 5 (March 1950), ill. n.p.
Charles Moritz, ed. Current Biography Yearbook. New York, 1971, p. 176, dates it 1948.
Francis V. O'Connor in "Philip Guston and Political Humanism." Art and Architecture in the Service of Politics. Ed. Henry A. Millon and Linda Nochlin. Cambridge, Mass., 1978, pp. 349–50.
Alison de Lima Greene. "The Artist as Performer: Philip Guston's Early Work." Arts Magazine 63 (November 1988), pp. 55, 59–60, 61 n. 37, figs. 11–12 (unfinished and finished versions), states that this work was published in 1947 as an unfinished painting titled "Somersault II" [see Ref. Janson 1947].
Emily A. Kerrigan inNew Forms: The Avant-Garde Meets the American Scene, 1934–1949, Selections from the University of Iowa Museum of Art. Ed. Kathleen A. Edwards. Exh. cat., University of Iowa Museum of Art. Iowa City, 2013, p. 72, dates it 1946.
Robert Storr. Philip Guston: A Life Spent Painting. London, 2020, p. 38, no. 25, ill. p. 37 (color).
Musa Mayer. Philip Guston. London, 2020, p. 28, ill. (color).
Alex Greenberger. "Metropolitan Museum to Receive 220-Work Philip Guston Gift from the Artist’s Daughter." artnews.com. December 14, 2022, ill. (color).
Musa Mayer. Night Studio: A Memoir of Philip Guston. 7th [1st ed, 1988]. [Zurich], 2023, pp. 126, 360–61, fig. 33 (color).
The Guston Foundation, ed. Catalogue Raisonné. Online resource [gustoncrllc.org/home/catalogue_raisonne], 2024–25 (accessed), no. P47.002, ill. (color).
Philip Guston (American (born Canada), Montreal 1913–1980 Woodstock, New York)
1936
Resources for Research
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
The Met's engagement with art from 1890 to today includes the acquisition and exhibition of works in a range of media, spanning movements in modernism to contemporary practices from across the globe.
