Prunella Clough—Pru to her friends, or sometimes Pruny—liked “paintings that say a small thing rather edgily,” as she told the Picture Post in 1949, when she was interviewed alongside her notable peers of the day, among them Robert Colquhoun, Patrick Heron, and Keith Vaughan. She was just thirty, but her succinct articulation of artistic aims already hinted at what would be a lifelong painterly commitment: “Whatever the theme, it is the nature and structure of an object—that, and seeing it as if it were strange and unfamiliar, which is my chief concern.” So “edgily” as in: wayward, askew,