By Didier Comès

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Therefore, although this study is not essentially a biography, a knowledge of the basic turns of his life must be established since his imagery is rooted in this reality. Gorky's system of signs, mostly obscure and at times consciously obfuscated, strongly coheres when seen against the backdrop of the artist's circumstances. 2 Page xxii Notes 1. Hubert Damisch, ''Semiotics and Iconography," The Times Literary Supplement (London), 12 October 1973, p. 1222. For a more complete survey of the questions of terminology involved in comparing language and the visual arts, see Curtis L.

Portrait of Master Bill, c. 1933. Oil on canvas, 52" × 41 1/8". Estate of the artist. 33 Figure 2-17. Landscape, c. 1927. Oil on canvas, 32" × 34". Collection of Richard Estes. 33 Figure 3-1. WPA Project photograph by Wyatt Davis for the Newark Airport murals. 38 Figure 3-2. Newark Airport mural sketch, 193536. WPA photograph. 39 Figure 3-3. Newark Airport mural project, WPA photograph of the installation model. 40 Figure 3-4. WPA Project photograph by Wyatt Davis for the Newark Airport murals.

Inc. 204 Figure 12-3. Agony II, 1947. Oil on canvas, 36" × 48". Estate of the artist. 204 Figure 12-4. Study for Agony, 1947. Pen and ink, wash. Estate of the artist. 205 Figure 12-5. Drawing for Agony, c. ). Pencil, pen, and wash, 12 1/2" × 9 1/8". Courtesy, The Art Institute of Chicago. 205 Figure 12-6. Study for Agony, c. 1947. Pen, ink, and wash, 11" × 8 1/2". Estate of the artist. 205 Figure 12-7. The Liver Is the Cock's Comb, 1943. Ink, pencil, crayon, 19" × 25 1/2". Weisman Collection, Beverly Hills.

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