Born Cara Clough-Taylor, Clough broke away from her traditional upbringing and enrolled at the Chelsea School of Art between 1938-9 until World War II forced a premature end to her studies. During the war, she became an engineer’s draughtsman and mapper for five years.
In 1946 she resumed her training at Camberwell School of Art where she met Victor Pasmore. She established friendships with other budding artists of the time such as Patrick Heron, John Minton and Keith Vaughan. Her earlier works focused on still life arrangements before developing into images of the labourer; from fishermen to engineers, the figure became of secondary importance and the concept of their associated tools the primary. Over the course of time, the image of the figure dispersed to be replaced with abstracted images of cooling towers, cranes and building sites. Yet, as her style progressed into a purer form of abstraction, her inspiration of industrial landscapes remained.
Her first exhibition in 1947 at the Leger Gallery was soon followed by important solo exhibitions, including the Whitechapel Gallery in 1960, the Serpentine, the London and Scottish Gallery of Modern Art and Kettles Yard. In 1999 she was awarded the Jerwood Prize for painting.
signed with artist's initial
titled label verso
painted circa 1944
Christies South Kensington, November 15th, 2006, Lot 285)
The Poetry of Crisis:The Peter Nahum Collection of British Surrealist and Avant-Garde Art 1930 - 1951
London, Olympia Fine Art and Antiques Fair, Prunella Clough 1919 - 1999 - Seeing the World Sideways,2 - 7 March 2004
Suffolk, Aldeburgh Festival Exhibition, Peter Pears Gallery 9 - 24 June 2006, cat no 41