http://www.artsconnected.org/resource/90574/clyfford-still-untitled-1950-c-1950 ArtsConnectEd.org Art Collector Set: Clyfford Still, <i>untitled (1950-C)</i> (1950) http://www.artsconnected.org/images/favicon.png http://www.artsconnected.org/resource/90574/clyfford-still-untitled-1950-c-1950 16 16 http://www.artsconnected.org/resource/90574/clyfford-still-untitled-1950-c-1950 Mon, 01 Jun 1998 00:00:00 -0400 <table cellspacing="0"> <tr> <td class="detail_label">Title</td> <td><h3>Clyfford Still, <i>untitled (1950-C)</i> (1950)</h3></td> </tr> <tr> <td class="detail_label">Author</td> <td><h3>Walker Art Center</h3></td> </tr> <tr> <td class="detail_label">Date</td> <td><h3>1998</h3></td> </tr> <tr> <td class="detail_label" style="padding-right:7px;">Institution</td> <td>Walker Art Center</td> </tr> </table><br/>For Clyfford Still, a single painting such as <i>Untitled (1950-C)</i> was comparable to an entry in a journal recording his interior experience. He described his artistic process as a solitary ethical journey, and each painting as an "instrument of thought," an extension and exaltation of his self and its contradictions. <p>The artist's aim was to relieve color of its traditionally "pleasant, luminous, and symbolic" aspects, and to heighten its expressive potential through selection, juxtaposition, and method of application. In this work, Still employed texture as a central element. The heavy impasto surface of the black contrasts with the smooth surface of the mineral-orange pigment. The act of painting is evident through the visible impressions of his brush strokes and palette-knife scrapings on the surface of the canvas.</p> http://www.artsconnected.org/resource/90574/clyfford-still-untitled-1950-c-1950 For Clyfford Still, a single painting such as Untitled (1950-C) was comparable to an entry in a journal recording his interior experience. He described his artistic process as a solitary ethical journey, and each painting as an "instrument of thought," an extension and exaltation of his self and its contradictions. The artist's aim was to relieve color of its traditionally "pleasant, luminous, and symbolic" aspects, and to heighten its expressive potential through selection, juxtaposition, and method of application. In this work, Still employed texture as a central element. The heavy impasto surface of the black contrasts with the smooth surface of the mineral-orange pigment. The act of painting is evident through the visible impressions of his brush strokes and palette-knife scrapings on the surface of the canvas. " type="image/jpeg" />For Clyfford Still, a single painting such as Untitled (1950-C) was comparable to an entry in a journal recording his interior experience. He described his artistic process as a solitary ethical journey, and each painting as an "instrument of thought," an extension and exaltation of his self and its contradictions. The artist's aim was to relieve color of its traditionally "pleasant, luminous, and symbolic" aspects, and to heighten its expressive potential through selection, juxtaposition, and method of application. In this work, Still employed texture as a central element. The heavy impasto surface of the black contrasts with the smooth surface of the mineral-orange pigment. The act of painting is evident through the visible impressions of his brush strokes and palette-knife scrapings on the surface of the canvas. " type="image/jpeg" />Copyright 1998 Walker Art CenterWalker Art Center