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left traces of the old lines and shapes, creating a many-layered surface. Her actual painting techniques furthered this by adding more texture. “Clough employed thick impasto, she daubed, she scraped, she gauged and scratched, she obliterated, experimenting with a variety of mixed media”. Gerard
Hastings has described how Clough used a variety of tools and materials to apply paint to her canvas and create a variety of visual effects, including sandpaper, wire wool, rollers, wallpaper scrapers, and pieces of wire mesh. She would sometimes mix textured materials like sand into her paint.
227:, the artist described how: "I prefer to look at the urban or industrial scene or any unconsidered piece of ground." In the latter decades of her career, Clough made a number of abstract works that reference fragments of urban detritus and rubbish that she found on the streets of London, such as plastic bags, discarded gloves, and oil stains. The first time she exhibited these paintings was in 1989 in a show entitled
251:. Clough created lithographs early in her career, and from the early 1960s often worked at the Curwen Studio in Plaistow. Throughout her career, Clough also made a number of assemblages from found objects that she gathered on her trips to industrial sites, the extent of which only became clear when these were discovered in her studio after her death.
207:, and became close friends with the painter David Carr, who also shared her interest in the industrial landscape as a subject. These trips resulted in a number of paintings of men and women at work in factories and on building sites, together with images of power stations, electrical plants and chemical works. The novelist
166:, and in 1945 Clough's mother Thora Clough purchased Woldside house in Southwold, which became an important base for the artist until it was sold after Thora's death in 1966. Clough retained strong links with the area throughout her career; the coastal landscape, a local quarry, and fishermen at nearby
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Britain. Although based in London, she made frequent trips to East Anglia and the
Midlands. During the 1950s, Clough became close friends with the painter and critic John Berger; they went drawing together in the marshalling yards at Willesden Junction. Clough also visited a number of factories and
277:
Prunella Clough is recognized as an accomplished artist, yet did not become as famous as some of her peers. A contributing factor to this was her love of privacy. She also was very generous in regards to money and her art. She would let people reproduce her work, but did not want money for it.
231:
at Annely Juda Fine Art
Gallery in London. The exhibition was a “critical and financial success” and helped Clough gain recognition and popularity. The early 1980s saw Clough embark on a series of paintings that focussed on an abstracted 'gate' motif, and she also became fascinated by the shadows
286:
Prunella Clough's paintings often share a mild or neutral colour palette, sometimes with punctuating strong or harsh colors. Clough cites the weather in
England as the probable cause for this trend. Clough often made changes to her paintings after she had begun working on them. In doing this she
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and
Yarmouth harbours provided significant early subjects. Clough also produced a number of still lifes. Clough had her first solo show at the Leger Gallery in London in 1947. In 1951, Clough participated in the exhibition 60 Paintings for '51, organised by the
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Clough's paintings gave unique views of everyday features of the urban landscape. Prunella Clough sometimes took photographs of her subject matter, but more important to her was the memory of the experience of seeing something.
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294:"Her subjects are closely observed details and scenes from the landscape. The images are combined and filtered through memory, and evolve through a slow process of layering and re-working."
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to an affluent upper-middle-class family, she was initially educated privately by her father, the poet Eric Taylor, before enrolling as a part-time student at the
Chelsea School of Art (now
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cast by passing people on subway walls, creating a number of works on this theme. In 1979, Clough played a key role in helping to organise the major retrospective of
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In an interview with Bryan
Robertson she said, “I work from the subject matter, things perceived, and the things that I see tend to be somewhat murky”.
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has noted that while many of her early paintings included the human figure, it gradually disappeared from her works, and Clough's canvases became more
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270:. In 1999, the year of her death, she was awarded the Jerwood Prize for Painting, and in 2007 she received a retrospective exhibition at
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223:. During a 1982 interview with Robertson, which was published in the catalogue for an exhibition of Clough's work held that year at the
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1117:"Abstraction's Ecologies: Post-Industrialization, Waste and the Commodity Form in Prunella Clough's Paintings of the 1980s and 1990s"
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Woolmer, Susannah (2004). "Prunella Clough: The Recent
Exhibition at Olympia Shone Some Welcome Light on a Neglected Artist".
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183:(1951), a painting of two fishermen weighing a catch of fish. The painting was subsequently purchased by the
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Prunella Clough : a retrospective exhibition, Whitechapel Art
Gallery, London, September - October 1960
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When she sold or gave away a painting, she did not try to exercise authority or ownership over it anymore.
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Clough's work enjoyed increasing recognition from the 1970s onwards, with exhibitions at the
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Clough's early subject matter led to her being linked with Neo-Romantic artists such as
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Although Clough worked predominantly as a painter, she was also an accomplished
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during the 1960s and 1970s. In 1960, Clough had her first retrospective at the
1287:"Prunella Clough: 1919-1999: seeing the world sideways. - Free Online Library"
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Apart from wartime service, during which she worked as a cartographer for the
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Sunday
Telegraph, Issue #2396, 13 May 2007, Arts Section, Graham-Dixon, A.,
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1015:"Carr takes the biscuit; The early work of Prunella Clough may surprise"
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134:) in 1937. In 1938, she took classes at Chelsea with the sculptor
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She died on 26 December 1999, aged 80, following a battle with
982:"Prunella Clough and the art of 'saying a small thing edgily'"
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The Spirit of Place: Nine Neo-Romantic Artists and Their Times
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The Olympia Fine Art & Antiques Fair (2004, retrospective)
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in 1976, followed by shows at the Warwick Arts Trust, the
853:"A floating world: the enigmatic art of Prunella Clough"
692:, Banks, R. (Ed.) (2003, London, Annely Juda Fine Art),
162:(1966-97). The Clough-Taylor family often holidayed in
103:(14 November 1919 – 26 December 1999) was a prominent
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People of the United States Office of War Information
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Prunella Clough at the Tate. Includes scanned diaries
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Clough Prunella - Unseen Reliefs Drawings and Prints
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1253:"Annely Juda Fine Art | Artists | Prunella Clough"
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142:. Clough lived in London throughout her career.
594:Plymouth City Council Museum & Art Gallery
959:. Tauris Parke Paperbacks. pp. 285–299.
931:"Lowestoft Harbour | Arts Council Collection"
114:, and received a retrospective exhibition at
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419:Austin/Desmond Fine Art, London (1996, 2012)
229:Prunella Clough: Recent Paintings, 1980-1989
1352:"By the Canal, Prunella Clough 1976 | Tate"
341:Roland, Browse and Delbanco, London (1949)
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1130:10.17658/issn.2058-5462/issue-01/cspencer
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1537:103 artworks by or after Prunella Clough
1329:. Osborne Samuel. 2015. pp. 11–15.
820:. London: Thames and Hudson, 1987, p. 9.
219:, under the directorship of the curator
37:Prunella Clough, c. 1958, photograph by
1411:. Article accessed on 23 November 2013.
1115:Spencer, Catherine (30 November 2015).
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1587:Academics of Wimbledon College of Arts
1407:dated 22 September 1999, published by
1399:"The painting prize that got it right"
266:. From 1988 Clough was represented by
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765:. Phaidon Press. 2019. p. 104.
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622:Sunderland Museum and Winter Gardens
368:Graves Art Gallery, Sheffield (1972)
1422:"Prunella Clough: Recent Paintings"
980:Spalding, Frances (30 March 2012).
371:New Art Centre, London (1973, 1976)
203:industrial sites with the sculptor
1577:20th-century English women artists
741:, Tufnell, B. (Ed) (2007, London,
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1592:Alumni of Chelsea College of Arts
1388:Overview of Clough's achievements
1204:Prunella Clough: Regions Unmapped
1164:Prunella Clough: Regions Unmapped
1046:. Whitechapel Art Gallery. 1960.
907:Prunella Clough: Regions Unmapped
794:Prunella Clough: Regions Unmapped
584:Pallant House Gallery, Chichester
578:New Walk Museum & Art Gallery
132:Chelsea College of Art and Design
935:www.artscouncilcollection.org.uk
618:Southwark Art Collection, London
609:Salford Museum & Art Gallery
489:Chelsea and Westminster Hospital
1206:. Lund Humphries. p. 154.
1191:. Tate Publishing. p. 110.
1166:. Lund Humphries. p. 193.
1069:. Tate Publishing. p. 43.
884:. Tate Publishing. p. 84.
1509:"Prunella Clough: A Centenary"
1447:"Archive - Camden Arts Centre"
909:. Lund Humphries. p. 23.
796:. Lund Humphries. p. 50.
604:Rugby Art Gallery & Museum
566:National Galleries of Scotland
506:Falmouth Art Gallery, Cornwall
472:Bristol Museum and Art Gallery
451:Art Gallery of New South Wales
138:. Her aunt was Irish designer
1:
1607:Deaths from cancer in England
1572:20th-century English painters
1409:Telegraph Media Group Limited
1091:"The romance of the ordinary"
614:Southampton City Art Gallery
338:Leger Gallery, London (1947)
238:Victoria & Albert Museum
126:Born on 14 November 1919 in
1642:20th-century women painters
1627:People from Chelsea, London
1257:www.annelyjudafineart.co.uk
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1202:Spalding, Frances (2012).
1162:Spalding, Frances (2012).
905:Spalding, Frances (2012).
551:Lady Margaret Hall, Oxford
483:Camden Town Hall Extension
477:British Council Collection
315:Jerwood Prize for painting
175:to coincide with the 1951
112:Jerwood Prize for painting
1602:British women printmakers
830:Debrett's People of Today
540:Jerwood Gallery, Hastings
517:Government Art Collection
398:Warwick Arts Trust (1982)
152:Office of War Information
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1497:Tate Gallery exhibitions
1451:www.camdenartscentre.org
1231:. Annely Juda Fine Art.
818:Eileen Gray: A Biography
589:Pembroke College, Oxford
572:National Museum of Wales
495:Clare College, Cambridge
381:Perth, Western Australia
377:Galleries, London (1976)
955:Yorke, Malcolm (2001).
880:Foster, Alicia (2004).
640:(National Trust) London
456:Arts Council Collection
217:Whitechapel Art Gallery
185:Arts Council Collection
160:Wimbledon School of Art
1617:English women painters
1291:www.thefreelibrary.com
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561:Manchester Art Gallery
310:Midsummer Prize (1977)
75:London, United Kingdom
59:London, United Kingdom
1612:English cartographers
1513:Pallant House Gallery
1187:Tufnell, Ben (2007).
1065:Tufnell, Ben (2007).
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524:, Newcastle upon Tyne
438:Pallant House Gallery
434:(2007, retrospective)
359:, London (1964, 1968)
1622:Painters from London
1426:Serpentine Galleries
1227:Barker, Ian (2003).
1095:www.newstatesman.com
857:www.newstatesman.com
440:(2019–20, centenary)
408:Annely Juda Fine Art
333:Selected exhibitions
268:Annely Juda Fine Art
242:Museum of Modern Art
1637:Women cartographers
1597:Artists from London
1121:British Art Studies
763:Great Women Artists
534:Herbert Art Gallery
351:Whitechapel Gallery
345:Leicester Galleries
177:Festival of Britain
882:Tate Women Artists
644:Walker Art Gallery
511:Fitzwilliam Museum
445:Public collections
425:, Cambridge (1999)
414:Camden Arts Centre
260:Camden Arts Centre
256:Serpentine Gallery
225:Warwick Arts Trust
1377:Heart of Industry
751:978-1-85437-699-2
650:Whitworth Gallery
556:Leeds Art Gallery
500:Courtauld Gallery
363:Bear Lane Gallery
357:Grosvenor Gallery
181:Lowestoft Harbour
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1021:. 3 August 1997
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416:, London (1996)
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365:, Oxford (1971)
347:, London (1953)
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236:'s work at the
221:Bryan Robertson
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128:Chelsea, London
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1478:on 19 May 2007
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140:Eileen Gray
136:Henry Moore
81:Nationality
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1140:10023/8037
704:References
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375:Serpentine
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