Background
Evergood was born Myer Blashki in Melbourne, eleventh child of Phillip Blashki, manufacturer of masonic regalia and jeweller, and his wife Hannah, née Immergut.
Evergood was born Myer Blashki in Melbourne, eleventh child of Phillip Blashki, manufacturer of masonic regalia and jeweller, and his wife Hannah, née Immergut.
He studied at the National Gallery School of Art under Frederick McCubbin and Bernard Hall between 1893 and 1895.
He was the father of American artist Philip Evergood. Goldstein in 1908 wrote a front-page article about Evergood in the New York Hebrew Standard. His friends and colleagues were the group who exhibited the first recognisable style of Australian painting.
Evergood exhibited at the Victorian Artists Society, and the Royal Art Society of New South Wales, Sydney, before leaving for the United States in 1898 together with fellow-artist Frank (Francis) McComas. as did Hanna Astrup Larsen in the glossy journal International Studio.
Miles and Flora had one child, named Philip Howard Francis Dixon Blashki (1901-1973). In 1910 Miles exhibited five paintings in the first exhibition of the Society of Independent Artists held in New New York
Foreign about twenty years he regularly visited Europe, establishing a good reputation as a painter. After returning with the family to live in England in 1910. in 1914 he his landscape was hung the Paris Salon.
Foreign eight years he exhibited with the International Society, at Burlington House, with the Society of Painters and "Gravers and the New English Arts Club.
Then-Lord of the Admiralty, Winston Churchill wrote a handwritten reply to his query, suggesting that "Blashki" was not a suitable name for an officer in an Anglo Saxon navy. He then went to Sydney and then Melbourne holding exhibitions of his work, and died of cancer in Melbourne on 3 January 1939. Evergood was a capable artist, who mostly painted landscapes in oil with affinities to the post impressionists.
They included Max Meldrum, George Coates, and James Quinn, who formed themselves into bohemian clubs to discuss contemporary concerns like socialism and the rights of the individual.
He worked for the Hearst newspapers in San Francisco before moving on to New York, where he exhibited and was subsequently invited to be a member of both the Salamgundi and Lotos Clubs. Evergood returned to Australia in July 1931 and worked for eighteen months in Queensland and became a member of the Royal Queensland Art Society.