biografía de James Meikle GUY (1909-1983)

Lugar de nacimiento: Middletown, CT

Lugar de defunción: Moodus, CT

Direcciones: NYC, 1932-42; Conn., 1942-45; Vermont, 1945-46; Jacksonville, IL, 1946-54; FL & Moodus, CT, 1954-on

Profesión: Painter, sculptor, educator

Estudios: Hartford Art Sch., with Albertus E. Jones; ASL, 1932-; Orozco in Mexico

Exposiciones: Wadsworth Atheneum, late 1920s (landscapes and still lifes), 1932 (solo show at the Annex); Boyer Gal., NYC, 1934 (solo); Hartford Mus. Annex, 1935; Am. Artists Congress; WFNY, 1939; WMAA, 1940-50; AIC, 1940-43; Ferargil Gal., NYC, 1941 (solo), 1944 (solo); Lehigh Univ., Bethlehem, PA, 1945; Bennington (VT) College, 1946; Carlebach Gal., 1948; MacMurray College, Jacksonville, IL, 1948; WMA; MMA; MoMA; Egan Galleries, NYC, 1960s (solo shows); Hartford College For Women, 1965 (solo); Collectors Gal., Middlefield, CT; Egan Gal., NYC, 1969; Member Show, Essex (CT) Art Assoc., 1975; Wesleyan Univ., CT, 1966, 1975; Surrealism and American Art," Rutgers Univ., 1977; Martin Diamond Fine Arts, NYC, 1983 (solo), 1985 (duo, with Louis Schanker); "Geometric Abstraction of the 1940s by Ed Garman & James Guy," Robert Schoelkopf Gal., NYC, 1990; Karl Rosenfeld Gallery, NYC"

Asociaciones: Essex (CT) Art Assn.; Am. Artists Congress.

Obra: Meriden, CT Public Schools; Wadsworth Atheneum, Hartford, CT; Olsen Foundation, Guilford, CT; Soc. Four Arts, Palm Beach, FL; Mattatuk Mus, Waterbury, CT; Massachusetts Inst. Technology, Boston; Guggenheim Mus., NYC

Comentarios: From the mid-1930s to mid-1940s, he painted in a Social Surrealist style (influenced by Dali) and gained a reputation for using his art to make strong social criticisms. Even before moving to NYC in 1932 he was politically involved, having helped produce a labor play called Strike" in Provincetown, MA; after arriving in NYC he joined several political organizations, including the John Reed Club. Painted a political mural (now lost) for the 13th Street Communist Workers School, NYC. From 1942 until the end of the war, he was employed in an aircraft factory and is said to have been influenced artistically by the abstract shape of the gliders. About 1944, his work became totally abstract (showing the influence of Leger). He and first wife Clara Skinner (see entry) ran a summer painting school for several seasons (1940s and 1950s) from their home in East Hampton, CT. During the 1960s he produced constructivist and totem-type assemblages and constructions made with various materials, including plexiglass. An avid fisherman, he spent several years in Florida and wrote many articles on fishing (for national publications), illustrated by his photographs and drawings. After his retirement, he visited Florida every winter, while maintaining his Moodus, CT, home. Teaching: Hartford Col. for Women; Painter & instr painting, Bennington Col, VT, 1945-47; head of art dept, MacMurray Col, Illinois, 1946-54; teacher, Wesleyan Univ, CT, 1961-75.

Fuentes: WW73; WW40; Wechsler, 39-42 and cat. nos. 48-51; Diamond, Thirty-Five American Modernists 51-52; Ilene Susan Fort, "James Guy: A Surreal Commentator," Prospects (Dec., 1987); American Abstract Art, 186; add'l info., including clippings and exh. brochures, courtesy Peggy MacAuslan, Conn. (sister of the artist) and Nancy Syme (daughter of the artist). "