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...black schoolgirl in Philip Evergood's painting There'll Be a Change in the Weather stands as straight as Caspar the King. She is wearing sneakers just like the other kids, so white, and a pretty school frock. But she is mocked. The children who should be her friends stick out their tongues. The beauty of the painting hurts. One al most expects the mothering earth to open and receive the girl, to save her from the hell of that schoolyard...

Author: /time Magazine | Title: Art: SECRET AND LOST | 10/3/1969 | See Source »

...PHILIP EVERGOOD-Gallery 63, 721 Madison Ave. at 63rd. American-born, English-educated (Eton, Cambridge). Evergood saturates his paintings with biting wit and sharp social commentaries. His sensuous figures are caught in a Rabelaisian revelry of human rapacity and foolishness. Among the oils, watercolors and drawings: a wistful Look Homeward, Marilyn. Through...

Author: /time Magazine | Title: Art: Art in New York: may 8, 1964 | 5/8/1964 | See Source »

THEMES FROM SHAKESPEARE - Salpeter, 42 East 57th. A palettable painting party for his 400th birthday. Present: Antonio Frasconi's woodcut portrait of the poet; John Sennhauser's collage soliloquy, To Be or Not To Be; Philip Evergood's charcoal-and-wash of Macbeth and the witches; Mel Silverman's Will plastered against a 16th century papier-mache London; 16 other artists. Through April...

Author: /time Magazine | Title: Art: Art in New York: Apr. 10, 1964 | 4/10/1964 | See Source »

AMERICAN CONTEMPORARY STILL LIFE-Dintenfass, 18 East 67th St. Painting a pear excited Cézanne; in this show 38 modern artists respond to the old-fashioned challenge offered by still life. Jack Levine, Philip Evergood, Sidney Goodman, Andrew Wyeth, Loren Maclver, David Aronson are among the entries. Through...

Author: /time Magazine | Title: Art: Art in New York: Nov. 8, 1963 | 11/8/1963 | See Source »

What ever happened to all those scaffold-borne WPA muralists who did post offices and courthouses during the Depression days of the Federal Art Project? Some became bums, some are dead, some are doing toothpaste ads. Some, like Philip Evergood, became successful representational artists. And some, escaping from the chunky nude moms and arm-and-hammer mill workers, the wheat stacks and cogwheels of federal wall paintings, have turned into top-rank abstract expressionists. Next week Manhattan's Whitney Museum of American Art opens a show by one of them: 64 oils, gouaches and watercolors by James Brooks that...

Author: /time Magazine | Title: Art: As Paint Leaves Brush | 2/8/1963 | See Source »

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