Over seventy years after his death in 1948, Arshile Gorky’s life, practice, and artworks continue to resonate with new generations of artists and writers. In honor of his enduring legacy, the Arshile Gorky Foundation has contributed over one hundred images of the artist’s work to Artstor on JSTOR.

Abstract painting of a seated figure with a pale blue body and simplified black-and-white face. Angular shapes and vertical bands of yellow, green, brown, and black fill the background.
Arshile Gorky. Untitled (Blue Figure in Chair), c. 1934–35. Oil on canvas. © 2026 The Arshile Gorky Foundation / Artists Rights Society (ARS), New York.
Abstract drawing of a crowded, imagined interior, composed of loosely sketched geometric forms, furniture-like shapes, and scattered small accents of red, blue, and ochre.
Arshile Gorky. Untitled (Drawing for an Unrealized Mural, Marine Transportation Building, 1939 New York World’s Fair), c. 1939. Gouache on paper napkin. © 2026 The Arshile Gorky Foundation / Artists Rights Society (ARS), New York.

Gorky was an autodidact. Though he briefly attended art schools in Boston and New York in the early 1920s, he was, in effect, almost entirely self-taught. At a young age he had an intuitive, painterly sensibility and was offered teaching positions. In New York, he became a well-known art instructor, notably at the Grand Central School of Art, and privately, at his studio on Union Square. Fellow artists, among them Willem de Kooning, respected his connoisseurship and omnivorous command of the history of art. Gorky educated himself through frequent and repeated visits to as many local museums and galleries as possible and by voraciously reading art books and trade publications. He is among the first generation to benefit from innovations in photographic reproduction, as demonstrated by his vast library and collection of ephemera, which has been catalogued and published online by the Arshile Gorky Foundation.

Still life of pears and peaches arranged on a plate, with a tall handled jug behind them. The fruit and jug are painted in muted yellow, green, and reddish tones against a plain background.
Arshile Gorky. Untitled (Pears, Peaches, Pitcher), c. 1926–27. Oil on canvas. © 2026 The Arshile Gorky Foundation / Artists Rights Society (ARS), New York.
- Abstract composition of overlapping figures and geometric forms, painted in cream, gray, yellow, black, and brown. A pale blue figure with a stylized face occupies the center.
Arshile Gorky. Untitled (The Betrothal, Motif), 1946. Ink and crayon on paper. © 2026 The Arshile Gorky Foundation / Artists Rights Society (ARS), New York.

“The cathedral leaves its locale,” wrote Walter Benjamin, “to be received in the studio of a lover of art.” Gorky loved and lived art. The pages of his library are marked with notes and marginalia, and various reproductions have little holes in their corners from having been tacked onto Gorky’s studio walls. His own artwork, in turn, is studied and art historical, with dozens of copies after works by other artists. The Gorky Foundation’s contribution to Artstor is also a nod, thereby, to the spirit of Gorky’s autodidacticism and instructorship. May these images find the screen of a lover of art.

The Gorky Foundation is committed to fostering a more accessible digital art history. Educators and students are encouraged to consult the Foundation’s Arshile Gorky Catalogue Raisonné, a free and accessible online publication that documents Gorky’s known oeuvre.

Written by:

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Parker Field

Parker Field is a New York-based art historian and writer, currently the Managing Director of the Arshile Gorky Foundation. He is also the managing editor and a contributor to the Arshile Gorky Catalogue Raisonné (available at www.gorkycatalogue.org).