Exhibitions: Charles Clough: Three Paintings for One Wall

  • 1st Floor
    Arts of Africa, Steinberg Family Sculpture Garden
  • 2nd Floor
    Arts of Asia and the Islamic World
  • 3rd Floor
    Egyptian Art, European Paintings
  • 4th Floor
    Contemporary Art, Decorative Arts, Elizabeth A. Sackler Center for Feminist Art
  • 5th Floor
    Luce Center for American Art

On View: Landscape

This quiet, enclosed landscape subject, very likely set in the Catskills or Adirondacks, represents the direction in which Asher B. Durand h...

Hiroshige's One Hundred Famous Views of Edo

Hiroshige's 118 woodblock landscape and genre scenes of mid-nineteenth-century Tokyo, is one of the greatest achievements of Japanese art.

    On View: Female Offering Bearer

    This semi-clad woman in a fringed coat and shawl must once have been part of a row of tomb figures bringing offerings for the deceased. She ...

    Want to add this object to a set? Please join the Posse, or log in.



    Charles Clough: Three Paintings for One Wall

    • Dates: December 13, 1985 through February 17, 1986
    • Collections: Contemporary Art
    Press Releases ?
    • December 23, 1985: Three mural-size paintings by Charles Clough will be on display in the Grand Lobby from December 13 to February 17, 1986. The installation is appropriately called Three Paintings for One Wall, as the three exhibited works were created for this particular large space; all three are based on Clough’s careful study of The Brooklyn Museum’s remarkable collection of 19th- and 20th-century American paintings.

      The largest of the three works, called The Governor--which measures roughly 14 by 22 feet--was inspired by Albert Bierstadt’s A Storm in the Rocky Mountains - Mt. Rosalie of 1866. Clough’s painting, like Bierstadt’s, employs a compositional scheme of a mass of brown hues on the right, the deep blue of the sky in the central part, and luminous areas of ochers and greens on the left. The two other works are both vertical and are half the size of The Governor. Doubloon was inspired by Benjamin West’s The Angel of the Lord Announcing the Ressurection, while Oysters draws freely from several works by Childe Hassam and John Henry Twachtman. All three works show Clough’s brilliant handling of colors, his gestural painting technique, and his recent interest in mastering a large-scale format. (The Bierstadt, West, Hassam, and Twachtman works can be seen in the American Painting galleries on the fifth floor of the Museum.)

      Clough began doing large-scale works in the late 1970s but lost interest by the early 1980s when he became engrossed in the idea of appropriating images and ideas from artists of the past. This resulted in a reduction of scale, because his method of working utilized photographs and reproductions from books and periodicals, which were all limited in size. By 1984 he felt too constrained by the self-imposed limitations of scale and content and he began to concentrate more on free studies of his favorite masters, especially Hans Hofmann and Henri Matisse, but without drawing on specific works for inspiration. His interest in large-scale work once again came to the fore, and he devised new tools that enabled him to work on an even larger scale than before. Clough’s concern was to find ways to express his obsession with gesture and the physical properties of paint and to become immersed in the illusionistic space of the painting. The inherent romanticism of Clough’s work became readily apparent. His interest in large-scale work was reinforced during a trip to France in 1984, when he discovered at first hand the monumentality of Rubens, Courbet, and Delacroix.

      “I do not reveal new unknown thoughts but continue the revelation of something which was an inspiration for myself” is Clough’s own assessment of his approach to art. By deconstructing and altering already existing imagery and reassigning it to another context, Clough reveals new qualities inherent in the original works while at the same time creating his own commentary on them.

      Charles Clough was born in Buffalo in 1951. He studied at Pratt Institute in New York in 1969-70 and at Ontario College of Art in Toronto in 1971-72. In Buffalo in 1974, he and Robert Longo founded HALLWALLS, one of the first alternative spaces in the United States. Clough has resided in New York City since 1978.

      Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1971 - 1988. 1985, 061. View Original

    advanced 110,573 records currently online.

    Separate each tag with a space: painting portrait.

    Or join words together in one tag by using double quotes: "Brooklyn Museum."

    Recently Tagged Exhibitions

    Recent Comments

    "Hi Aimee, I think you mean Oreet Ashery? More information can be found in her profile on the Feminist Art Base: http://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/oreet_ashery.php?i=266"
    By shelley

    "Hi, I am trying to find the name of the artist who took and is in the photograph that follows- http://www.brooklynmuseum.org/opencollection/exhibitions/664/Global_Feminisms_Remix/image/216/Global_Feminisms_Remix._%7C08032007_-_03032008%7C._Installation_view. I believe the artist takes pictures of herself dressed as a man but then exposes her femaleness, as in the photo of her dressed as an Ascetic Jew exposing her breast. Can you help me find her information? Thanks in advance- Aimee Record"
    By Aimee Record

    "For more information on Louis Schanker and the New York Art Scene of the mid 1900's go to http://www.LouisSchanker.info "
    By Lou Siegel

    Join the posse or log in to work with our collections. Your tags, comments and favorites will display with your attribution.

    The Brooklyn Museum Archives maintains a collection of historical press releases. Many of these have been scanned and made available on our Web site. The releases range from brief announcements to extensive articles; images of the original releases have been included for your reference. Please note that all the original typographical elements, including occasional errors, have been retained. Releases may also contain errors as a result of the scanning process. We welcome your feedback about corrections.
    For select exhibitions, we have made available some or all of the informative text panels written by the curator or organizer. Called "didactics," these panels are presented to the public during the exhibition's run, and we reproduce them here for your reference and archival interest. Please note that any illustrations on the original didactics have not been retained, and that the text may contain errors as a result of the scanning process. We welcome your feedback about corrections.
    For select exhibitions, we have made available some or all of the objects from the Brooklyn Museum collection that were in the installation. These objects are listed here for your reference and archival interest, but the list may be incomplete and does not contain objects owned by other institutions or lenders.
    This section utilizes the New York Times API in order to display related materials in New York Times publications.