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The Philip Evergood Papers

The Philip Evergood Papers at the Archives of American Art comprise one of the richest archival holdings on an American artist, and illuminate a period when art and politics often mixed. The first group of papers were obtained in March of 1971, exactly two years before the artist died in a fire at his home in Bridgewater, Connecticut. This collection of 375 items, covering the years 1927-64, includes letters, essays, addresses, catalogues, articles, and four of Evergood's scrapbooks which reflect the artist's activities with the American Artists' Congress and Artists Union as well as the PWAP and WPA. A far more extensive collection of the artist's papers, donated by his widow, Julia Cross Evergood, in December 1974, consists of twelve cartons of letters, speeches, essays, explanations about his work, poetry, notes, sketches, childhood drawings, exhibition and auction catalogues, articles, clippings, miscellaneous printed materials, and personal documents.' The correspondence contained in the Evergood Papers gives us the clearest picture yet of this controversial American artist, his relationship with other artists and gallery owners, the basis of his artistic philosophy, and his responses to the constantly changing demands of the time in which he lived. One finds the information particularly revealing because Evergood goes to great lengths to explain his artistic philosophy and approach. So carefully, in fact, does he detail the whys and wherefores of his craft that the observer ultimately questions why he was so compelled. Inevitably, one is led to the conclusion that Evergood planned for his papers to be read, for he kept everything: notes, fragments of speeches, lists of ideas, titles for works, announcements, invitationsanything that pertained to his artistic career. And in a handwritten note, he even tells us why a painter is often moved to write: Since words give the painter no release in the way a painting does, two motives direct him to write. The first (which generally comes in moments of defeat or depression) is to be better understood by others. The second, to better know himself, must necessarily come when he is strong and self-assured.2