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Gorky’s preceding years observed a further postponement of surrealist devices, enthused by the existence in America of Roberto Matta Echaurren and far along by the coming of the remaining group of surrealists headed by André Breton. Gorky’s application of paint achieved a greater freedom, the subsequent images outstanding through the thin pigment, as in the Pirate I (1942). His palette amplified in strength, and great clouds of glowing colour seemed to vibrate from The Liver Is the Cock’s Comb (1944). However, through the similar period, Gorky could go to the arabesque line of Ingres and the faint hues present in his Good Afternoon, Mrs. Lincoln (1944). In the works of the last two years of his life, of which Agony (1947)And Bethrothal 2 (1947) are exemplary, Gorky successfully achieved the visual descriptions of his new-felt experiences. Gorky’s own achievement was also ostensible before 1930. In this abstract still life, signed and dated 1929, the representative skin of cubism has already been peeled. The surface is thick with repeated overpainting’s and modifications, and rough as a scratch coat of plaster, but the sombre orchestration of geometric and biomorphic shapes in saturated tones of blue, red, black, tan and beige is wholly effective. Within the cubist discipline, Gorky’s dialectic exactness and abandon, preparation and improvisations, and colour and line, was carried to brilliant accomplishment after 1944. American Abstract artist Arshile Gorky has a place on top row. In different ways, he influenced several who were to become themselves most influential: de kooning, Pollock, Rothko and nakian. Gorky’s individual work is virtually an illustrative symbol of the assimilation of European painting on the other side of the Atlantic and its conversion into a new substance. Not least, Gorky provided a defining image in the passion of post war American Painting. (waldmann,1981.)

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