Clyfford Still: The Depths of Abstraction

Clyfford Still is inextricably linked to the evolution of abstract art in the 20th century. If you’re interested in art that challenges you, that pushes you to look beyond the surface, then Still’s work is certainly worth exploring.

Source: Clifford Still Museum

A Life in the Shadow of the Canvas Born in 1904 in Grandin, North Dakota, Still grew up in a world far removed from the bustling New York art scene. He spent his youth on farms in Washington and Alberta, Canada. The influence of these rugged and expansive landscapes is evident in his work.

Still was a man of few words, and his appearance reflected his no-nonsense approach to life and art. With his often-serious expression and simple attire, he radiated an intensity that matched his monumental paintings perfectly.

His artistic journey began conventionally enough. He studied at the Art Students League in New York and Spokane University in Washington. In his early work, you can still see recognizable figures and landscapes, often inspired by the harsh realities of farm life. But Still was a restless spirit. He was constantly experimenting, seeking a way to express his inner vision. Gradually, the recognizable shapes disappeared from his work, replaced by large, abstract fields of colour. A turning point in his career came in the 1940s, when he met other abstract expressionists such as Jackson Pollock and Mark Rothko in New York. Although Still never truly felt at home in these circles, the experience helped him refine his own style.

The Power of Colour and Form Still’s mature style is instantly recognisable. Large canvases, often over two metres high, covered with vast areas of intense colour. These blocks of colour sometimes seem to clash, sometimes harmonise, but always with an unmistakable energy. Take, for example, “1957-D No. 1”, one of Still’s best-known works. The canvas is dominated by a large black area, broken by striking bands of yellow and red. The effect is dramatic, almost violent, as if the canvas itself is being torn apart. Another impressive piece is PH-247 from 1951. Here we see a more subtle interplay of brown and blue tones, with occasional flashes of white and yellow. It evokes a wild landscape, but as seen through the eyes of someone who looks beyond the surface. 1944-N No. 2 is an earlier work that shows the transition from Still’s more figurative period to his later abstraction. Here you can still make out vague outlines of human figures, but they seem to dissolve into a whirlwind of colour and form.

An Independent Spirit Still was one of the first artists to fully break with the tradition of recognisable forms and subjects. His work opened the door to a new way of viewing art, where emotion and intuition mattered more than representation. Despite, or perhaps because of, his uncompromising attitude, Still’s work continues to captivate. His paintings challenge us to look beyond the surface, to project our own emotions and experiences onto the canvas.

If you’ve become intrigued by the life and work of Clyfford Still, there are fortunately some excellent books available. Clyfford Still: The Artist’s Museum by Dean Sobel and David Anfam offers an in-depth analysis of Still’s work and life. For a more personal perspective, Clyfford Still: The Buffalo and San Francisco Collections by Thomas Kellein is highly recommended.

Personally, I find Still’s work both fascinating and challenging. His paintings demand time and attention but reward the viewer with an intense emotional experience. Although his uncompromising stance can sometimes be frustrating, it’s also admirable how true he remained to his artistic vision.

Clyfford Still was an artist who refused to conform, who chose his own path and stuck to it, regardless of the consequences. In a world increasingly focused on quick gratification and superficial experiences, his work offers a welcome invitation to slow down, to look, and to truly see.