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The Art of JAMA
February 16, 2016

Waiting RoomPhilip Evergood

JAMA. 2016;315(7):640-641. doi:10.1001/jama.2015.14112

Despite the advantages available to him in life, Philip Evergood (1901-1973) was mindful of those who were not as fortunate, especially during difficult days of the Great Depression. Social justice was an undercurrent of his work, and instead of showcasing high society, he preferred to focus on those who through poverty or other circumstances had burdens to bear, picturing them with animated faces alight with emotions that may include hope for the future.

Evergood was born in New York City to a father who was also an artist. In 1909, he traveled to England for education, but the plan for him to pursue a career as a naval officer became derailed when he later developed complications thought related to appendicitis. He enrolled in Eton instead where he found encouragement for his imaginative inclinations that included drawing. Under the keen eye of Henry Tonks, Evergood began studying at the Slade School of Fine Art in London in 1921. The demanding regimen of drawing did not deter him, and he in time achieved a certificate (Taylor K. Philip Evergood: Never Separate From the Heart. Lewisburg, PA/London, UK/Toronto, Canada: Center Gallery, Bucknell University Press/Associated University Presses; 1987:1-210).

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