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What comes through, again and again, is the intensity of Guston’s self-questioning: his recurrent wish to have “dismantled everything and started from scratch,” his incessant sense of internal conflict, his conviction (pun intended) that in his art, the canvas is—not, as his old friend Harold Rosenberg had said, an arena in which the individual artist has the freedom but also the obligation to act, but rather a different kind of space, one in which Guston felt divided against himself, a space of judgment: “a court where the artist is prosecutor, defendant, jury, and judge.”
We explore the places that shaped the artist described by Matisse as ‘the greatest of us all’, and whose work stars in the upcoming NGV’s Winter Masterpieces show.