CLYFFORD STILL SYNOPSIS
Although not as widely known as some of hiscontemporaries, Clyfford Still was the first to break through to a new and radically abstract style devoid of obvious subject matter. His mature pictures employ great fields of color to evoke dramatic conflicts between man and nature taking place on a monumental scale. "These are not paintings in the usual sense," he once said, "they are life and death merging in fearful union.. they kindle a fire; through them I breathe again, hold a golden cord, find my own revelation." A believer in art's moral value in a disorienting modern world, Still would go on to influence a second generation of Color Field painters.
CLYFFORD STILL KEY IDEAS
CLYFFORD STILL BIOGRAPHY
Born in Grandin, North Dakota, in 1904, Clyfford Still spent his formative years in Spokane, Washington and in Alberta, Canada, where his family maintained a wheat ranch in what was then the last outpost of the North American frontier. Though he later denied its significance, the vast, flat landscape and harsh lifestyle of the Canadian prairie would exert a lasting influence on his worldview and artistic practice.
After a brief stint at thein New York, Still returned to Washington in 1926 and enrolled in Spokane University. He studied painting, literature and philosophy throughout the next decade, graduating from Spokane in 1933 and receiving a Masters in Fine Arts from Washington State College in 1935. He would stay on to teach at Washington State for several years.
Still's paintings from this period range from brooding agrarian scenes reminiscent of, such as Untitled(Indian Houses, Nespelem)(1936), to more Surrealist-inspired works such as (1935) in which the human body is reduced to almost completely abstract forms. Yet the underlying theme of all these works seems to be man's attempt to survive in an unforgiving environment - a notion that is sometimes symbolized by vertical shapes rising in defiance against a horizontal landscape. During this period, we see the emergence of the color scheme (dark, earthy tones punctuated by flashes of bright colors) and technique (thick layers of paint applied with a palette knife) that would dominate the artist's entire oeuvre.
Still relocated several times in the early 1940s, first to California (where he befriended), then to Virginia (where he taught at the Richmond Professional Institute), and finally to New York in 1945. This was the beginning of an exceptionally fruitful period for him and the paintings he exhibited at , in 1946, evidenced by a unique and revolutionary style on the cusp of maturity. In these monumentally scaled works, all recognizably human forms have been discarded and replaced by flame-like shapes that rise vertically through dark and expansive fields. Along with his adoption of a non-representational style, Still also began to shy from the use of referential titles for his compositions, and would eventually settle on a nomenclature composed entirely of numbers and dates. 1944 -N No.2, from 1944, is typical of both his style and titling in this period.
In the context of American painting, Still's paintings from this period mark a highly original advance into abstraction, and they would prove very influential on the New York artists who would later become the chief exponents of. Yet despite his association with these artists, Still bristled at the notion that he was part of any school or movement, and he remained a self-styled outsider. In fact, despite his activity in New York, Still spent a great deal of time on the West Coast during these years. He composed much of his work there and began an influential teaching tenure at the California School of Fine Arts in 1947.
Still returned to New York in 1950 and spent the majority of the next decade in the city. He continued to explore and expand upon his signature themes, refining his motifs and introducing new elements to his work. Most notably, he began to include areas of bare canvas in his paintings and started working on increasingly horizontal compositions. However, a notoriously cantankerous character, Still grew even more disillusioned with the New York art scene. He clashed with most of his contemporaries - resulting in the termination of long friendships with, and - and severed ties to his galleries. In 1957, he even turned down an invitation to exhibit his work in the American Pavilion at the Venice Biennale. Around this time, Still also began to place severe restrictions on how institutions could lend and exhibit his paintings. In many instances, he even refused to allow any other artists to be shown alongside his work.
Later Years and Death
In 1961, Still relocated to a farm in Westminster, Maryland. He continued making art until his death in 1980, but never re-entered the New York art scene, which he saw as hopelessly frivolous and decadent. Instead, he worked in seclusion, showing his paintings only when he could exert complete control over the circumstances of their exhibition.
CLYFFORD STILL LEGACY
Because of the restrictions Still imposed on the collection and exhibition of his paintings, the majority of his work remains unseen. As a result, appraisals of his oeuvre have tended to revolve as much around the discussion of his difficult personality as they have around the critique of his life's work. However, considering the influence they exerted over his New York School contemporaries, it is clear that his paintings were hugely important for the establishment of Abstract Expressionism. It is also clear that Still, both by teaching and through example, continued to exert a powerful influence on countless artists in the years that followed.
In 2004, it was announced that a museum dedicated to the work of Clyfford Still would be established in Denver, Colorado. Scheduled to open in 2010, this museum will house 2400 previously unseen works from the artist's collection, or 94% of his entire output.
CLYFFORD STILL QUOTES
"I'm not interested in illustrating my time. A man's 'time' limits him, it does not truly liberate him. Our age - it is of science - of mechanism - of power and death. I see no virtue in adding to its mammoth arrogance the compliment of graphic homage."
"I never wanted color to be color. I never wanted texture to be texture, or images to become shapes. I wanted them all to fuse into a living spirit."
"These are not paintings in the usual sense; they are life and death merging in fearful union. As for me, they kindle a fire; through them I breathe again, hold a golden cord, find my own revelation."
"My work is not influenced by anybody."
"As before, the pictures are to be without titles of any kind. I want no allusions to interfere with or assist the spectator. Before them I want him to be on his own, and if he finds in them an imagery unkind or unpleasant or evil, let him look to the state of his own soul."
"You can turn the lights out. The paintings will carry their own fire."
"It's intolerable to be stopped by a frame's edge."