本月,在以斯蒂尔命名的美术馆里,由于他自己曾经的强硬要求而尘封了数十年的一批珍贵作品,终于重见天日,得以展出。提起克里夫德·斯蒂尔,无论是生前死后,都很难绕开他那臭名昭著的关于作品控制权的话题。在其同僚中包括杰克逊·波洛克、马克·罗斯科、威廉·德·库宁以及博纳特·纽曼,斯蒂尔是第一个磨练成熟的、攀登上不朽的抽象风格的艺术家,他的作品在上世纪40年代中期已经摈弃了可辨识的创作题材,这些抽象表现主义艺术家们选择从事的创作领域严格地界定在他的范围之内。1951年,第三次成功地在贝蒂·帕森斯美术馆举办画展之后,斯蒂尔即中断了与贝蒂·帕森斯的商业合作。1952年,在现代艺术博物馆举办的著名的“15人展”中,斯蒂尔坚持自己的展品要有一个独立的展厅(罗斯科也提出了同样的要求)。斯蒂尔隐居了几年之后,开始举办一些主要个展——1959年布法罗的奥尔布赖 This month, in the gallery named after Steele, a series of precious works that have been sealed for decades by the hardworking demands of his own have finally come to light and will be on display. When Clifford Steele was raised, it was hard to get around his infamous talk of the subject of work control, even after his death. Among his colleagues is Jackson Pollock, Mark Roscoe, William De Koenin, and Bonat Newman, who was the first artist to hone mature, climb immortal abstractions ’S work has dismissed identifiable creative themes in the mid-40s of the last century, and the areas of creativity that these abstract expressionist artists have chosen to engage in are strictly defined in his sphere. In 1951, after the third successful exhibition at the Betty Parsons Art Gallery, Steele interrupted his commercial relationship with Betty Parsons. In 1952, at the prestigious “15 shows ” organized by the Museum of Modern Art, Steele insisted that his exhibits have an independent exhibition hall (Roscoe made the same request). Steele lived a few years in seclusion and began to host major solo shows - Albright in Buffalo in 1959