Clyfford Still Quotes

The work itself, whether thought of as image of idea, as revelation, or as a manifest of meaning, could not have existed without a profound concern to achieve a purpose beyond vanity, ambition or remembrance, for a man’s term of life. Yet, while one looks at his works, a warning should be given, lest one forget, among the multitude of issues, the relation I bear to those with 'eyes'. Although the reference is in a different context and for another purpose, a metaphor is pertinent as William Blake set it down: THE Vision of Christ that thou dost see – Is my Vision’s Greatest Enemy: - Thine is the friend of All Mankind, - Mine speaks in parables to the Blind: 'Therefore, let no man under-value the implications of this work or its power for life; - or for death, if it is misused'.

The observer usually will see what his fears and hopes and learning teach him to see. But if he can escape these demands that hold up a mirror to himself, then perhaps some of the implications of the work may be felt. But whatever is seen of felt it should be remembered that for me these paintings had to be something else. It is the price one has to pay for clarity when one’s means are honoured only as an instrument of seduction or assault.

I do not want other artists to imitate my work – they do even when I tell them not to – but only [ imitate] my example for freedom and independence from all external, decadent and corrupting influences..

I am not interested in illustrating my time. A man’s 'time' limits him; it does not truly liberate him. Our age – it is of science – of mechanism – of power and death. I see no point in adding to its mammoth arrogance the compliment of graphic homage.

I do not have a comic or tragic period in any real sense. I have always painted dark pictures; always some light pictures. I will probably go on doing so.. .Orchestral. My work in its entirety is like a symphony in which each painting has its part.

Through them [his paintings] I breathe again.

[These are] not paintings in the usual sense, they are life and death merging in fearful union.

We are now committed to an unqualified art, not illustrating outworn myths or contemporary alibis. One must accept total responsibility for what he executes. And the measure of his greatness will be in the depth of his insight and his courage in realizing his own vision.

As for 'taste' as a criterion of painting I find that it is most frequently applied to work that is essentially insensitive, brutal or vulgar beyond question. Could it now be a term with political undertones to seduce, or cover profounder motives of exploitation? I propose it be kept to the wine cellar. There it deceives no one but him who over-indulges.

I am not an action painter. Each painting is an act. The result of action and the fulfillment of action.. .No painting stops with itself, is complete of itself. It is a continuation of previous paintings and is renewed in successive ones..

The best works are often those with the fewest and simplest elements.. ..until you look at them a little more, and things start to happen.

I held it imperative to evolve an instrument of thought which would aid in cutting through all cultural opiates, past and present, so that a direct, immediate, and truly free vision could be achieved, and an idea be revealed with clarity. To acquire such an instrument, however... demanded full resolution of the past, and present through it. No shouting about individualism, no capering before an expanse of canvas, no manipulation of academic conceits or technical fetishes can truly liberate..

..the idea that an artist is nothing unless he accepts the total responsibility for everything that he does.. ..by making a responsible move that he makes a statement.. .You can make a picture out of truth.

..the light suggests no particular time of day or night [in the paintings of Paul Cézanne ]; it is not appropriated from morning or afternoon, sunlight or shadow.

I felt it necessary to evolve entirely new concepts (of form and space and paintings) and postulate them in an instrument that could continue to shake itself free from dialectical perversions. The dominant ones, Cubism and Expressionism, only reflected the attitudes of power or spiritual debasement of the individual.