If we observe Elizabeth Murray «taking cues» in her Sentimental
Education, 1982, «from the clunky figures and objects in late Guston,» and if we note Whitney's «deceptively casual paint handling, largely adapted from Guston,» we might also consider Joan Snyder's Beanfield with
Music, 1984, as a work that explores and draws on both the»50s Guston, who seems already (again) to be flirting with figure, and the later Guston, with his bizarre and darkly humorous
landscape compositions.