City Lights II 1940 - 1941

Philip Evergood's lithograph captures the ethereal glow of "City Lights II" in monochromatic shades. Dominating the skyline are gas tanks, symbols of modernity and industrial might, yet they loom like ancient colossi over humble dwellings, embodying the dichotomy of progress. Consider the luminescent glow, an almost divine illumination in the night sky. This recalls the symbolic use of light in Renaissance paintings, where divine light often breaks through darkness, signifying revelation or hope. Yet, here, the light is not of divine origin but rather a byproduct of industry, a new kind of enlightenment brought about by human ingenuity. The presence of a figure walking his dog evokes the isolation of modern life amid the cold, impersonal structures of industry. This echoes the sentiment of the lone wanderer, a motif present throughout art history, symbolizing the individual's quest for meaning in an increasingly complex world. The symbols, motifs, and iconography present in Evergood's work reflect our collective subconscious anxieties and hopes. They prompt us to reflect on the cyclical nature of progress and the enduring human quest for meaning within the ever-evolving landscape.