The main work of Gorky’s early period is the Artist and His Mother (ca. 1926-1929), a two piece portrait composed of cool graceful shapes, which proposes an air of stillness. Though this portrait was kept in relation to its painterly capabilities, trusting profoundly on the fine graceful line of Ingres, Gorky was concurrently discovering the colour space combination of Paul Cézanne (Staten Island, 1927/1928) and the surrealist-inspired figurative stage of Picasso (Still Life, 1929). This future focus, in surrealist biomorphic shape, Gorky mastered and stretched during the next two decades (Rosenberg 1962).Gorky’s practice throughout the 1930s was very much detached amongst drawing and painting. The rather geometrical Organization Series (1933-1936) was perhaps a result of the artist’s reflection of the work of Josef Albers. Gorky’s Aviation mural (a Federal Art Project commission now lost), the theme of which was recurrent in the Aviation murals for the 1939 New York World’s Fair, broke away from the more surrounded methods of the Organization Series and exploited photomontage and cubist symbolic space. As public art, Gorky’s murals did not try to create an easy visual experience for the nonprofessional. (Waldmann,1981)Near the end of the 1930s, as Gorky ascended under the inspiration of the work of André Masson, his work looked to be reliant less on explicit orientations certifiable to the viewer, but striving more on a felt memory specified in his emerging, vibrant palette. The Image of Xhorkhom (ca. 1936) exists in four forms and, like the many versions of his Garden in Sochi (1938-1940), allegedly refers by its title to the memory of things past. The later series is an extension since the previous, with the images grown more delicate and cleaner in shape, the surfaces less tightly painted, and the legibility of the artist’s forms increasingly vague as Gorky achieved a whole transformation of floral and structural imagery (R. Taylor.2009).