Clyfford Still: Work

“As for 'taste' as a criterion of painting I find that it is most frequently applied to work that is essentially insensitive, brutal or vulgar beyond question. Could it now be a term with political undertones to seduce, or cover profounder motives of exploitation? I propose it be kept to the wine cellar. There it deceives no one but him who over-indulges.”

Clyfford Still

Clyfford Still, in an interview with Ti Grace Sharpless, 1963; as quoted in Abstract Expressionism Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990, p. 201
1960s

Motivation , Question , Wine , Painting

“The best works are often those with the fewest and simplest elements.... until you look at them a little more, and things start to happen.”

Clyfford Still

As quoted in Abstract Expressionism, Davind Anfam, Thames and Hudson Ltd London, 1990, p. 137
1950s

“I do not want other artists to imitate my work – they do even when I tell them not to – but only [ imitate] my example for freedom and independence from all external, decadent and corrupting influences..”

Clyfford Still

1960s
Source: 'A period of Exploration', McChesney, as quoted in The New York school – the painters & sculptors of the fifties, Irving Sandler, Harper & Row, Publishers, 1978, p 35

Freedom

“The work itself, whether thought of as image of idea, as revelation, or as a manifest of meaning, could not have existed without a profound concern to achieve a purpose beyond vanity, ambition or remembrance, for a man’s term of life. Yet, while one looks at his works, a warning should be given, lest one forget, among the multitude of issues, the relation I bear to those with 'eyes'. Although the reference is in a different context and for another purpose, a metaphor is pertinent as William Blake set it down: THE Vision of Christ that thou dost see – Is my Vision’s Greatest Enemy: - Thine is the friend of All Mankind, - Mine speaks in parables to the Blind: 'Therefore, let no man under-value the implications of this work or its power for life; - or for death, if it is misused'.”

Clyfford Still

Letter to Gordon Smith, January 1, 1959, as quoted in Abstract Expressionism Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990, p. 196
1950s

Life , Death , Idea , Christ

“I do not have a comic or tragic period in any real sense. I have always painted dark pictures; always some light pictures. I will probably go on doing so... Orchestral. My work in its entirety is like a symphony in which each painting has its part.”

Clyfford Still

Gallery Notes, Allbright-Knox Art Gallery, Vol. 24 summer 1961 pp. 9-14; as quoted in Abstract Expressionism Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990, p. 197
1960s

Sense , Light , Parting , Painting

“The observer usually will see what his fears and hopes and learning teach him to see. But if he can escape these demands that hold up a mirror to himself, then perhaps some of the implications of the work may be felt. But whatever is seen of felt it should be remembered that for me these paintings had to be something else. It is the price one has to pay for clarity when one’s means are honoured only as an instrument of seduction or assault.”

Clyfford Still

Letter to Dorothy Miller February 5, 1952; as quoted in Abstract Expressionism Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990, p. 193
1950s

Fear , Hope , Learning , Painting