Abstract Imagists: A Journey Through American Abstract Expressionism
Abstract Imagists: Symbols, Color Fields, and the Power of Simplified Form The term “Abstract Imagists” comes from a pivotal 1961
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Josef Albers – Memento 
Clyfford Still
Clyfford Still (1904–1980) was an American painter and one of the earliest and most independent figures associated with Abstract Expressionism. He developed a monumental form of abstraction during the 1940s, moving away from recognisable subjects before many of the artists later identified with the New York School.
Still’s mature paintings are characterised by vast fields of colour interrupted by jagged shapes, vertical fractures and irregular edges. His thick, worked surfaces resist the calm geometry associated with artists such as Mark Rothko and Barnett Newman. Colour appears torn, layered or opened from within, creating a sense of tension between expansion and confinement.
Although his compositions can suggest cliffs, flames or primordial landscapes, Still rejected literal interpretations of his work. He understood painting as an expression of individual consciousness and existential struggle. His uncompromising attitude also shaped his relationship with the art world. He distanced himself from commercial galleries, controlled the display of his work and resisted the critical categories imposed on Abstract Expressionism.
This tag gathers articles, exhibition reviews and critical perspectives on Clyfford Still, his monumental paintings, distinctive use of colour and surface, and lasting influence on Abstract Expressionism, Color Field painting and post-war American art.
Josef Albers – Memento