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Still espoused what he regarded as particularly American ideals such as absolute freedom and individuality, which were manifested in his works as well as in his artistic career. Although he was given solo exhibitions at Peggy Guggenheim’s Art of This Century gallery in 1946 and Betty Parson’s Gallery in 1947, he disdained the commercial aspects of the art world and became increasingly aloof from the burgeoning New York School, to the point of refusing to exhibit for a period between 1952 and 1958. Although the artist scorned categorization, his expansive canvases dominated by jagged fields of color were influential among the Abstract Expressionist artists he was grouped with, in particular Barnett Newman and Mark Rothko, who shared his interest in the metaphysical sublime. These artists believed that a painting could convey meaning without reference to anything outside of its inherent formal and material qualities. Rather than capture a realistic representation of the world in his abstract paintings, Still sought to create a transcendental experience that was purely visual and impossible to describe with words.