1. Kwon 1
Grace Kwon
Research Methods
Professor Susanna Cole
May 2015
Clyfford Still: Untitled, (1960)
New Planes and the Abstract
Sublime

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Clyfford Still (1904-1980) was a figure of the abstract expressionist movement during the
1940s. By this time he had moved away from his figurative paintings towards a radical
abstraction culminating his mature style which will be discussed. There are numerous discourses
on the significance of the dissolution of the figurative and the non-representational as these are
discernible attributes to this movement in modern art. However, these discourses also outline
contrasting stances on spatial orientation, the relationship between spectator space and art space,
as well as the examination of visual and philosophical components. A look at the historical
dialectic will also provide a backdrop whereby a momentum can be used as a tool to understand
the trajectory of this phenomena in modern art.
Upon entering gallery 920 at the Metropolitan Museum of Art, one is confronted by an
enormous visual scale. Clyfford Still’s Untitled, (1960) oil on canvas measures 113 inches in
height and 146 and a half inches in width. There is an immediate richness. Coming closer, the
velvet and matte textures of paint speak out in their abundance of value and opacity. Thick,
rough and overlapping layers of burgundy, deep maroon, and oxblood sit with a menacing black
tar-like paint. Hints of Crayola orange and cyan weave and disappear into the maroon pool. Still
utilizes palette knives to apply heavy and thick layers, resulting in striations. There is a sense of
friction in the handling of the paint itself, one can see and feel the large strokes of movement
required to cover a space with this much material, energy and intent. This archaeology of the
canvas provides a parameter within which a visual abstract space is realized. The tactile texture
communicates overlapping opacity with sheer moments, revealing the selvage of the canvas
itself.

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“That cosmology of ‘only one narrative’ obliterates the multiplicities, the
contemporaneous heterogeneities of space. It reduces simultaneous coexistence to place
in the historical queue.” - Doreen Massey1
In 1936, The Cubism and Abstract Art exhibition held at The Museum of Modern Art in
New York City marked a turning point in the historiography of early-twentieth-century
modernism. The exhibition’s catalogue was significant as it provided an analysis of modern art2
and made evident the strong influence of Cubism. MoMA’s curator Alfred Barr, presented
visitors with a chart of lineage, from 1890, citing the influences of Van Gogh, Cézanne, Seurat
Massey, For Space, 5.1
Platt, “Modernism, Formalism, and Politics: The ‘Cubism and Abstract Art’Exhibition of 1936 at2
The Museum of Modern Art”, 284.

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and its evolution through such movements of Futurism, Purism, Neoplasticism, and Fauvism. At
the bottom of the chart, these movements fell under the umbrella of “geometrical abstract art”
and the other “non-geometrical abstract art.” It brought a sense of scholarship and organization
to legitimize abstract art, and established Cubism as the central issue of early modernism,
abstraction as the goal. This chart was stressed throughout the exhibition, guiding visitors3
through the historical timeline of Cubism complete with examples of sculptures of African art as
to showcase its evolution. As a result, Cubism and abstract art was seen through a narrative as
explored through sequence. It was laid out to the visitor to take in and fit it into their own ideas
of time, respectively. Therefore, the art historical space-time is seen as a passing object, moving
through a linear passage. The implications of this rationale creates a streamlined
conceptualization of space and time. The traditional ideals of the figure, the pictorial, the
landscape and the Sublime are challenged.
The urge to reconcile abstract art ripples directly into the spatial orientation of Still’s
Untitled, (1960). The enormous terrain of rough paint, shocking bold tones and the dissolution
of the representational was a threat to reality. Cubism and collage provided a means as not to
abandon space to just pure form and composition. However, it caused the flattening of space as a
way to compensate. In The Cubist Epoch, Harold Rosenberg identifies this as a way to illustrate
the physiognomy of the landscape of modernity. “In addition to the solution it offered to the4
problem of transposing objects from deep space to a flat surface, Cubism’s replacement of linear
Ibid.,3
Rosenberg, Art on the Edge, 169.4

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perspective by two - dimensionality provided a metaphor of the psychic condition of modern
man.” I will not go as far as to validate this statement of the psychic attributes to modernity on
the implications of the modern man, but more as a way to support the idea of reevaluating the
“place” and sensibility in which the components of Still’s work fit into this discrepancy.
By 1947 we have the hallmark of so much that is yet to come; the figure/ground
relationship; the troweled, heaving surface creating unmatched mixtures of textured
color; the ragged-edged shapes pressing against each other…yet needing the very
presence of that edge to create the compensating inward pressures, the compression, and
the tension that both holds the work together and reflects the essential nature of the
man.5
By the mid to late 1940’s Still’s gestures become more pronounced. He begins to develop
his spatial motifs more consistently. There is now a stronger tendency towards how he
constructs his space. In the catalogue of his 1979-80 exhibition at The Metropolitan Museum of
Art, Still writes of this. “By 1941, space and the figure in my canvases had been resolved into a
total psychic entity, freeing me from the limitations of each, yet fusing into an instrument
bounded only by the limits of my energy and intuition.” The strong colors work as vehicles of6
geometric character. Not in the contours of smooth shapes, but of long, jagged edges, taking
charge of the changing “frame-lines.” This is an analogy to the moving bar line found in musical
notation, changing rhythmic time at different moments, creating tension, syncopation, and a
sense of displacement.
The close value of colors break out of each and causes the edges of the canvas to
disappear. The observer’s understanding of space-time in this work is being chopped up into
Heller, Dark Hues/Close Values, 35
Ibid..,136

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pieces, trying to make sense of where the eye can find a start and end point. Paradoxically, this
“muteness” is what engages the spectator, as the sense of emptiness excites the consciousness.7
The absolute space in Still’s Untitled, (1960) is impenetrable. There is a genuine feeling
of monumentality and a metaphysical space full of color and dynamism. The lack of color value
contrasts the need for form. The black, tar-like paint absorbs the eye and pulls everything else
with it. The interaction of the black and the maroon meet but do not fully marry into each other.
This overlapping pushes the space out to allow the canvas to breath. The illusory space cannot
be compressed into a visual package, as both the horizontal and vertical direction bleed past the
borders of the canvas. No longer playing a role in providing space for movement, Still creates an
absolute space that is both plastic and eternal. He explored the dimensions of modern space by
placing the natural and pictorial space into chaos. Still realized its immateriality through voids
of color and in doing so he broke ground for an entire generation of artists.8
Robert Rosenblum contributed a rich resource of information of the Abstract
Expressionist movement. He accounts the religious experience of Still’s seventy-one paintings9
at the Albright Art Gallery (now the Albright-Knox) in Buffalo, New York as compared to a
written letter by the romantic poet Thomas Moore of his trip to Niagara Falls in 1804. He wrote
about his account: “I felt as if approaching the very residence of the Deity; the tears started into
my eyes; and I remained, for moments after we had lost sight of the scene, in that delicious
absorption which pious enthusiasm alone can produce.” 10
Kuspit, The Illusion of the Absolute in Abstract Art, 27.7
Kuh, Clyfford Still: Thirty0three Paintings in the Albright-Knox Gallery, 10.8
Rosenblum, The Abstract Sublime, 38.9
Ibid,.10

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The bafflement of great energy, awe and the paralyzation of reasoning embodies the idea
of the Sublime. Exploring the limestone landscape of Gordale Scar, painted between 1811-15 by
British painter James Ward, and the dark, brooding presence of Still’s 1956-D, Rosenblum links
the the Romantic tradition of the Sublime with the new Abstract Sublime.
In Gordale Scar, Ward magnifies the limestone cliffs creating an anxiety, flattening the
landscape itself. The image moves closer and closer to the spectator, invading their space. The
brewing storm, the gathering of deer and cattle, and the remnants of divine light set the stage for
the Sublime. Ward takes great care in painting the jagged peaks and edges of the limestone, and
with the manipulation of light, the dark shadows cast on the cliffs unveil its terror. The bulky
Gordale Scar, James Ward, 1811-15

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blocks of color in Still’s 1956-D reveals cracks and textures in the form of a fiery bright white. It
breaks up the suffocating, rough surface translating an abstract geology. The idea of the11
sublime in the Romantic sense is captured in the simplicity of nature. Still’s mature style
executes the the same, with strong organic shapes through verticality, and confrontation of space.
“Still’s work is the paradox that the more elemental and monolithic its vocabulary becomes, the
more complex and mysterious effects. As the Romantics discovered, all the sublimity of God
can be found in the simplest natural phenomena, whether a blade of grass or an expanse of
sky.” 12
Ibid., 41.11
Ibid.,12
Clyfford Still, 1956-D, Albright-Knox Gallery

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Do these formal similarities suggest that Ward and Still, both manifested the same goal of
the Sublime in painterly expression? This quandary is at the forefront of where the Romantic
ideals of the Sublime intervenes with the philosophical reaction of modernity. The idea of the
Sublime can be traced back to the Greek philosopher Longinus. In the first century A.D. he
wrote about the loftiness and distinction of the Sublime. Through underlying sources such as the
grandeur of thought, which can be achieved in grasping the great works of antiquity, only then
can one reach an ideal of standards. Strong emotion as a source of inspiration and the
appropriate use of figure is of the utmost importance in the Sublime. It is the moment “when the
nature of the theme makes it allowable to amplify, to multiply or to speak in tones of expression
or passion.” These sources mold to create a proper balance. It was not until 1759 that Edmund13
Burke published his A Philosophical Enquiry Into the Origins of Our Ideas of the Sublime and
Beautiful. The key idea was that the beautiful was separate from the Sublime. The beautiful is
described as the calm, smooth and safe as opposed to the Sublime of terror, fear and the
obscurity. The Sublime is explained as the strongest feeling of astonishment, an emotion that
suspends the mind into awe. It exists as the embodiment of the highest power of passion.
According to Burke, in order to preserve this, a degree of obscurity is needed. The German
philosopher, Emmanuel Kant, in his Analytic of the Sublime (1790) also provides a template.
Kant explains that they are both used to express a feeling of pleasure, based on a set of concepts.
What one sees as satisfaction is only a reflection. Kant breaks down the concepts of the beautiful
as only found in nature. The form of the object has definite boundaries that we already have an
inherent understanding of, although not entirely concrete. The Sublime does not apply to the
Henry Frowde, Longinus on the Sublime, www.archive.org/details/cu3192401423345013

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object, and therefore its “boundlessness” is infinite and vast. It is an experience of transcendent
perception. Still’s Untitled, (1960) is indeed an amorphous plane, allowing shape through color.
The use of color is conceptualized into reason and this exchange is quantified in our brains,
giving us a cognition that is both unstable yet delightful. Kant wants us to understand that this
inability to grasp opens up the gates of imagination and a whole new set of concepts of reason
are realized. We constantly search to find the right match. This transaction between spectator14
and art is disrupted as one shifts their perception of depth and composition. This disorientation
of space tends to vacillate between the desire to see the small in big terms (still life orientation)
or the vast brought down to scale (landscape orientation).15
The invention of beauty by the Greeks, that is, their postulate of beauty as an ideal, has
been the bugbear of European art and European aesthetic philosophies. -Barnett Newman16
Barnett Newman, an abstract expressionist painter who ran in the same circle as Still,
both members of “The Irascibles,” a group of eighteen American Abstract painters whom in17
1950, wrote a letter to the Metropolitan Museum of Art’s director, Roland L. Redmond, rejecting
the upcoming exhibition American Painting Today-1950 and also the competition that followed
it. It cited that the director, Francis Henry Taylor and Robert Beverly Hale, associate curator of
Citron, Communication Between Spectator and Artist, 147.14
Donnell, Space in Abstract Expressionism, 247.15
Newman, The Sublime is Now, 51.16
Collins, Life Magazine and the Abstract Expressionists, 1948-51: A Historiographic Study of a Late17
Bohemian Enterprise, 255.

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American Art, had a distaste for modern art as well as the selected jury. Just two years earlier in
1948, Newman, also a prolific writer wrote for Tiger’s Eye, an arts magazine. The Sublime is
Now confronts the lineage of the idea of beauty. Perfection had become so synonymous with the
notion of beauty, that art lost its own identity. Kant and Burke were too focused on separating
beauty from the Sublime. The Renaissance, to Newman was a very strong reaction to this
conflict, but only resulted in a revival of perfecting form to achieve exaltation. Thus, modern18
art was a reaction to the Renaissance, in that it sought to dismantle these age old ideals of beauty
in search for a new notion of the Sublime, starting with the Impressionists. Their search to find a
new plane failed as they were not able to change the idea of beauty but only challenged it. To
totally separate and to create a new vision, is to destroy these ideals. Newman writes that the
new American breed of artists, free from the weight of European ideals, have no concern that art
has anything to do with beauty. There is a will to take control and to redefine these emotions.19
The new American artist is only interested in what is inherently present, not based off of any
false ideals.
In 1952, the Museum of Modern Art held the Fifteen Americans exhibition. It
showcased American abstract art, curated by Dorothy C. Miller. She utilized the idea of the
group show, where multiple works of each artist would be presented. Clyfford Still contributed
seven oil paintings. In his artist statement, there is a striking resemblance to that of Newman’s
article discussed above.
Newman, The Sublime is Now, 51.18
Ibid.,19

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That pigment on canvas has a way of initiating conventional reactions for most people
needs no reminder. Behind these reactions is a body of history matured into dogma,
authority, tradition. The totalitarian hegemony of this tradition I despise, its
presumptions I reject…….We all bear the burden of this tradition on our backs but I
cannot hold it a privilege to be a pallbearer of my spirit in its name.20
Clyfford Still became increasingly annoyed and violated when his works were displayed
with other works of his contemporaries. He maintained close friendships with other leading
Abstract Expressionists such as Mark Rothko and Jackson Pollock. On his first visit to the
Metropolitan Museum of Art, he left disappointed and would later quote museums and galleries
as “those gas-chamber white walls.” He wanted to control every aspect of his work, how it was21
displayed, who would be worthy enough to purchase his paintings. His dissatisfaction with the
art world resulted in his fallout and consequently his departure from New York, along with his
wife Patricia and his daughters in 1961. In a letter to his gallerist Betty Parsons, he further
explains his reasons for his departure.
I assume that you will soon be making your schedule of shows for the season after
Christmas. To facilitate your arrangements and avoid confusion I will tell you now that I
am withdrawing my work from public exhibition…..It is simply that in this particular
issue of exposing my work a network of associations and evaluations entirely at variance
with the implications of my act in painting are brought to bear. I find these not only futile
but disturbing in many ways…
Perhaps his Untitled, (1960) may just have been one of his last works before he settled in
rural Maryland and purchased land to set up his studio. Here he would produce hundreds of
Still, 15 Americans, 21.20
Sylvia,Hochfield, Revealing The Hidden Clyfford Still, www.artnews.com/2009/01/01/revealing-21
the-hidden-clyfford-still/

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works that would never be seen to the public. He resurfaced in 1957 as a result in the meeting of
Seymour H. Knox, president of The Buffalo Fine Arts Academy and Gordon M. Smith, director
of the Albright-Knox Gallery where his Untitled, (1954) was purchased. The hard and bleak
black foundation, with the presence of red bolting down with its jagged edges and the defining
stark white line making its way through, slowly, letting its divine presence known is experienced
here once again. This relationship led to his exhibition at the gallery in 1959. Their
good rapport continued and, convinced that the Albright-Knox gallery would be the right home
for his paintings, he gifted them thirty-one works in 1964. This was not for a sum of money but
more as an agreement of Still’s terms. Still wanted his paintings to be kept together and under no
circumstances could they ever be shipped to any gallery, city or museum. He even demanded
that should someone be unable to travel to see his works, a book of the paintings would be
reproduced for them. In a diary entry written on December 29, 1973, Still provides some basis to
his demands.
Clyfford Still, Untitled, 1954

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I would like to say a little more here on the general idea why I want these works kept
together. Each picture is complete. Is a complete unit. I am not interested in just having
the pictures shown in bunches. That is not it. As though each picture were not complete
in itself. Each picture is self-sufficient. It is that I want to reveal the scope of the basic
idea of my work. My work represents a conception of art as a life - an entire life - a
sweep and the total lesson of creation.
Katharine Kuh, who wrote the catalogue foreword for the Still exhibition at the Albright-
Knox Gallery, commented on his canvas as living organisms. This perhaps, provides more22
clarity of Still’s overprotective nature of his works. He looks at each piece in its self-contained
entirety, not as a part of his full body of work. Giving each piece its individuality, and its own
space to exist as an organism, respecting its right to have its own cycle of life. Kuh continues,
“No color, no brush stroke, no void, no surface detail is separate from the whole. All are
interrelated precisely as the forces of nature are interdependent.”23
On May 2, 1978 Still signed his final will and testament two years prior to his death.
I give and bequeath all the remaining works of art executed by me in my collection to an
American city that will agree to build or assign and maintain permanent quarters
exclusively for these works of art and assure their physical survival with the explicit
requirement that none of these works of art will be sold, given, or exchanged but are to
be retained in the place described above exclusively assigned to them in perpetuity for
exhibition and study.
The terms requested mirror the demands he made of the Albright-Knox gallery. An
American city would have to be chosen to house and conserve his works for the sole purpose of
staying there and never to be moved or to be seen in any other city or country for that matter.
Leaving his wife Patricia as the executor, the search to find the right American city ensued.
Years after Still’s death, the estate was not able to find a final home. Many suitors came to
Kuh, Clyfford Still, Thirty-three Paintings in the Albright-Knox Gallery, 10.22
Iblid.,23

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Patricia but she, like her husband, rejected many, including such cities as Atlanta and Baltimore.
With the help of Mayor John W. Hickenlooper and private funding, Still’s legacy would be
realized. Upon Patricia’s death in 2005, she also bequeathed her estate archives to Denver as
well. The museum’s collection has an unprecedented ninety-five percent of the archives as well
as approximately 3,125 works spanning from 1920 to 1980.
Located in downtown Denver’s civic area, the Clyfford Still Museum opened its doors in
2011. The rectilinear brutalist structure has a feeling of protection, provided with a cantilevered
entrances and a concrete finish similar to that of “corduroy.” This was achieved as the concrete24
was set with imprints of wooden boards. It is somewhat isolated and concealed as Still’s
enigmatic character was as well. The head conservationist, James Squires spoke about his
experience unraveling never before seen canvases as they were in need of a cleaning. Once the
canvas was unrolled from being sealed in plastic for so long, “ the studio smelled of linseed oil
for weeks.” The canvas was breathing and the rich colors were changing as they came in
contact with the environment. This is important to note as the Untitled, (1960), as discussed
with Mr. Squires, was probably in need of attention as the colors have probably changed so
much.
The Metropolitan Museum of Art only has two of the twelve Still paintings on view.
Like the thirty-three works he donated to the Albright-Knox, these twelve were gifts to the Met
as well in 1986, on behalf of Patricia Still. The Met was not honoring the agreement, nor was
taking proper care of the painting. Moreover, the two Still oil paintings, the Untitled, (1960) and
the Untitled, (1950) are located in gallery 920, along with Isamu Noguchi’s Kouros (1944-45),
Pearson, Still Life, 70.24

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Willem de Kooning’s Attic (1949), and Robert Motherwell’s Elegy to the Spanish Republic, No
35 (1954-58). Still had made it very clear that he specifically did not want his works to be
displayed with other artist’s works.
What are the spatial implications of Still’s stipulation? The Clyfford Still Museum, as
their mission states “is to advance the understanding and appreciation of Clyfford Still’s art and
legacy through the presentation, research, interpretation, preservation and stewardship of its
unique collections.” My experience at the museum was wonderful because it gave access.
Access to a single artist and his history, through writings, ephemera, the pigments that he ground
himself, to the conservation staff who graciously allowed access not only to their work space, but
a trip into the vault, right next door, of bundles and stacks of canvas’ that have yet to be
unraveled. The archivist, Jessie de la Cruz was very generous, showing some illustrated index
cards that Still had hand drawn. Images of anatomy, and other musings, almost like an the
artist’s recipe card. It is very important to note, that Patricia Still was a huge part of the process
of this museum being realized. She kept extremely efficient records, everything from large
canvases to the lab coat that her husband would put on when going into the studio. Miss Cruz
spoke of how Patricia had most likely given up her art, as she was an artist in her own right, as
she was one of Still’s pupils, to dedicate her life to her husband’s work. A number of arson cases
had been widespread in Patricia Still’s town in Maryland. She called up her daughters to come
help to remove all the works from the barn. Had she not done so, as Miss Cruz said
emphatically, “this museum would not exist.” Still’s studio barn ultimately burned down, one
week later.

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In front of the archives office are catalogues of the shows that Still exhibited in, readily
available for public research as well as video footage. It would have been nearly impossible to
find all this tangible information and to be able to talk with someone who was spearheading such
a daunting task of having a huge bulk of one’s life and work. For the first time, viewing his early
figurative paintings and drawings from the 1930’s, everything came together as the main gallery
was entered. The immense canvases hung on finely finished light gray cast concrete; monolithic,
strong and ever so present. Still’s body of work is able to stretch out, occupying their own wall,
adjacent to each other but never taking anything away.
There is still so much of Still’s work that is yet to be seen. His legacy is ongoing. At the
museum, the space to discover within one’s own scope is at the heart of what Still was trying to
communicate. He wanted us to see his art as witness. One who is present, who can see without
judgement, taking in the visual as a singular entity that he provides for us. He wanted us to be
absorbed and as undistracted as possible. You either either understood or you did not.
“To all who would know the meaning and the responsibilities of freedom, intrinsic and absolute,
these works are dedicated.”25
Still, Clyfford Still: Thirty-three Paintings in the Albright-Know Gallery, 18.25

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Ago.” Art News, (February, 1961), 38-41.

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