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19 de jul. de 2024 · In 1950, Still began an eleven-year sojourn in New York City. By withdrawing his work from public exhibition and sale the following year, Still strove to take control over how his art was seen. With this liberation from the mainstream art world came a renewed sense of artistic clarity and drive.
17 de jul. de 2024 · Landscape. Works made between 1923 and 1936 exemplify Still’s early interest in recording the world around him, especially the landscape, as well as the other most enduring theme in his oeuvre: the figure. Sketches that capture motion—riding, plowing, digging—coexist with studies of grain elevators and other buildings that stress robust ...
15 de jul. de 2024 · Despite his obviously innovative flair for painting, Clyfford Still (Nov. 30, 1904 to June 23, 1980) has a tarnished reputation. The artist long has been viewed as a lone wolf with a stereotypically disagreeable artistic temperament. Still’s personal and professional life scandalized many.
5 de jul. de 2024 · Clyfford Still was a purist whose unequivocal commitment to his art reached the heights of creative brilliance. His was a spiritual quest for sublime states of freedom. He tore open a space where color, form and emotion were expressed in bold, swift gestures that allowed him to experience moments of rapture and exaltation.
Hace 1 día · Abstract expressionism in the United States emerged as a distinct art movement in the immediate aftermath of World War II and gained mainstream acceptance in the 1950s, a shift from the American social realism of the 1930s influenced by the Great Depression and Mexican muralists.
3 de jul. de 2024 · Still’s paintings emphasize draftsmanship—arguably to a greater extent than those of his Abstract Expressionist colleagues. Silhouettes, crisp dabs of pigment, meticulously traced and sculpted contours, and slender vertical strokes (which the artist called “life lines” to denote their vitality) seem to define the immanence of lurking ...
10 de jul. de 2024 · Clyfford Still’s paintings, devoid of obvious subject matter, embodied the contemplative color and open space techniques of color field painting. In the late 1950s, his piece, D-No.1, showcased his evocative style through a fiery clash of yellow and black applied to the canvas with a palette knife to create texture.
