Brooch c. 1938

Hugh Clarke made this painting of a brooch. The process is front and center here, isn't it? The brushstrokes are clear, the layers are visible, and the white of the paper gives everything a loose, unfinished vibe. The gold tones are built up from thin washes, creating a sense of depth and shine. The lines defining the brooch aren’t precise, they wobble and thicken, suggesting movement and a kind of playful exploration. This is not about perfection; it's about finding the form through the act of painting. Look closely at how Clarke handles the shadows. They’re not just filled in, they’re built up with strokes that suggest the light reflecting off the metal. It’s as if Clarke is less interested in representing the object perfectly and more interested in capturing the sensation of seeing it. This reminds me a little of Manet’s quick brushwork, focusing on the fleeting moment, the pure experience of light and color over perfect representation. There is room for ambiguity and a sense of ongoing discovery, even in something as seemingly simple as a brooch.