Brian Clarke

The Artist

Robert Fraser, London, where acquired by Naim Attallah C.B.E.

Martin Harrison, Brian Clarke, Quartet Books Limited, London, 1981, no. LIV, illustrated p. 182, and on the cover

Martin Harrison, Brian Clarke: Projects and Paintings, Olympus Corporation, 2nd ed. 1983, cover illustration

Junji Itō, Norman Foster, Brian Clarke: Microcosm (Stained Glass and Paintings), Tokyo, 1987, illustrated p.36 (as ‘ピエタ’)

Suzanne Beeh-Lustenberger, Peter Cook, Johannes Schreiter, Brian Clarke: Malerei und Farbfenster 1977–1988, Hessian State Museum, Darmstadt, 1988, illustrated

London, Royal Institute of British Architects (in assoc. with Robert Fraser Gallery), Brian Clarke: New Paintings, Constructions and Prints, 1981

Tokyo, Sezon Museum of Modern Art, Brian Clarke: Paintings, 1976–1987, 1987

Osaka, Yao Seibu Exhibition Hall, Brian Clarke: Paintings, 1976–1987, 1987

Darmstadt, Hessisches Landesmuseum, Brian Clarke: Malerei und Farbfenster 1977–1988, 1988 – 1989

'Mondrian is very important to me. At a time of restrained, ordered minimalism in my work, where I had embraced the non-objective and the abstract with almost a religious kind of puritanical enthusiasm, ‘Pieta’ was me saying, in part to myself, that my ‘new constructivism’ was in colour. Pieta is almost a direct quote from Mondrian. It is respectful, but it was also me saying, “yeah, that – Neoplasticism; De Stijl – was great — but let’s move on. I titled it ‘Pieta’ because I saw it as a sort of religious painting.'

–Clarke on Pieta, in 2019