Cover image for Clyfford Still : paintings, 1944-1960
Title:
Clyfford Still : paintings, 1944-1960
Author:
Still, Clyfford, 1904-1980.
Personal Author:
Publication Information:
Washington, D.C. : Hirshhorn Museum and Sculpture Garden, Smithsonian Institution in association with Yale University Press, New Haven, [2001]

©2001
Physical Description:
175 pages : illustrations (some color) ; 31 cm
General Note:
Published on the occasion of an exhibition organized by the Hirshhorn Museum and Sculpture Garden and shown there June 21-September 16, 2001.
Language:
English
Added Author:
ISBN:
9780300089691

9780962320392
Format :
Book

Available:*

Library
Call Number
Material Type
Home Location
Status
Central Library ND237.S78 A4 2001 Adult Non-Fiction Central Closed Stacks-Oversize
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Summary

Summary

Clyfford Still (1904-1980), best known for his compelling abstract works with jagged fields and powerful expanses of color, stands among the giants of post-World War II art. Together with his peers Jackson Pollock, Mark Rothko, and Barnett Newman, Still helped shape the new vision of art that came to be called Abstract Expressionism. This vividly illustrated book presents more than thirty of Still's greatest works, paintings that represent the full flowering of his style.

The contributors to this volume explore various aspects of Still's art, his accomplishments, and the Abstract Expressionism movement. David Anfam presents an overview of Still's career from the 1930s through 1950s. Brooks Adams examines Still's artistic legacy and influence on succeeding generations of artists. And Neal Benezra's chapter focuses on a provocative, unexplored element of Still's studio practice: his habit of painting replicas of many of his own works.


Reviews 1

Choice Review

This catalog accompanies the first major Still exhibition since 1979 (a year before his death) and features many privately held paintings. These help round out the picture of Still's career, a difficult task given the infamous restrictions written into his will, which have kept 750 oils warehoused to this day. In the first of three essays, Anfam shows how Still moved from surrealist-animism-style landscapes to total abstraction around 1946. No catalogue raisonne exists, making Still's early years cloudy, but Anfam expertly traces the major lines of his development, though with a vocabulary some may find daunting. Benezra probes the mysteries of Still's replica making, a practice that contradicts the customary idea of "action painting" and suggests surprising affinities to emerging 1960s Pop Art. As a prolific artist and eloquent if self-righteous polemicist, Still has had a profound but underestimated influence on many followers, Adams argues, for example, finding Still's gargantuan "topographical scale" repeated by Morris Louis, Jules Olitski, Anselm Kiefer, and even Richard Serra. Until his estate comes at last into public view, a full evaluation of Still's career remains impossible, but in the meantime this book makes a vital contribution. General readers; upper-division undergraduates through faculty. W. B. Maynard formerly, Delaware College of Art and Design


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