The canvas was his ally.
The paint and trowel were his weapons.
And the art world was his enemy.
I never even knew I had a favorite banner, until now.
I got it from this tweet from the Clyfford Still Museum:
The canvas was his ally. The paint and trowel were his weapons. And the art world was his enemy. twitter.com/Still_Museum/s…
— ClyffordStillMuseum (@Still_Museum) February 28, 2012
Everybody loves color field painter Clyfford Still. As a new blog feature, every Sunday I will feature a different image from Still along with any snippets of information I may have gleaned during my wanderings on the web.
Clyfford Still at the Albright Knox Gallery, Buffalo, NY in July 2010.
Thanks to Cecilia Chang for the photo.
The Clyfford Still museum’s website has this to say:
Described by many as the most anti-traditional of the Abstract Expressionists, Still is credited with laying the groundwork for the movement. Still’s shift from representational painting to abstraction occurred between 1938 and 1942, earlier than his colleagues, who continued to paint in figurative-surrealist styles well into the 1940s.
It’s 3:40 AM as I write this. I slept most of yesterday trying to re-set my sleep cycle. Just woke up feeling sort of OK, so I’m going to get as much real-world stuff done as I can.
But because I know how fun it is to sip your morning coffee while looking at photos from your friends, here is a photo essay on the subject of things I found lovely over the weekend.
No. 37 by Mark Rothko
I like the perspective of the photo. Usually Rothko’s work is photographed straight-on, but I like to see it in its surroundings. The angle gives it a bit of mystery.
Many more beautiful things after the jump.
It began as asubgenre of Abstract Expressionism. It was once a pejorative term but is now considered historically accurate. It involves a turning away from hard geometric shapes and thinly applied paint toward curvilinear shapes and sensuously thick paint.
What is it? Read more to see