PH-653

Identification of PH-653 by Clyfford Still

PH-653 is a work by Clyfford Still, created in 1934. This piece emerged from the artist's time at Yaddo in Saratoga Springs, NY. It represents a specific moment in his development, captured during a period of intense experimentation with form and the raw essence of the natural world.

The artist did not assign a formal title to this work, a practice he would later adopt more strictly to allow for individual interpretation. Instead, it is identified by the inventory number PH-653, which refers to the photograph of the work. This numerical designation reflects his preference for a visual language that resists easy categorization or external narrative.

In this 1934 creation, we see the early impulses of a painter who would eventually become a central figure in the evolution of American abstraction. The work remains a significant piece of his early output, reflecting the quiet contemplation of the human condition that characterized his transition toward a more radical, non-figurative style.

Composition and Visual Elements

The composition centers on a man seated upon the ground, his legs crossed in a quiet, grounded posture. He holds a ball in one hand, a detail that anchors the figure within the space. Though the man's face remains unseen, his presence is felt through the deliberate arrangement of his body. A yellow shirt provides a singular point of color against the otherwise black and white imagery, drawing the eye to the center of the arrangement.

Movement is introduced through the presence of two birds, which flank the central figure. One bird is positioned on the left side of the frame, while the other is situated toward the right. These elements create a sense of depth, as if the birds are caught in a moment of flight or perching near the subject. The arrangement of these figures suggests a quiet, lived-in moment, where the stillness of the man contrasts with the potential motion of the birds.

Technique and Materials Used

In this work, the artist utilized a rather unconventional substrate, applying brush-applied oil paint onto a coated canvas window shade. This choice of material lends a specific character to the surface, one that differs from the standard heavy canvases typically seen in such periods. The application of the oil paint is direct, working with the texture of the shade to establish the visual field.

Beyond the primary medium of oil and canvas, the artist integrated several other elements into the composition. Graphite pencils and ink were employed to add detail and definition to the work. There is also the presence of paper within the material makeup of the piece. These varied media—oil, ink, graphite, and paper—interact upon the window shade to create a layered, tactile presence that defines the physical reality of the object.