William Scott Irish, 1913-1989
"William Scott's paintings exude a quiet power and elegance, capturing the essence of the everyday with remarkable insight." - John Berger
Scott's early career was influenced by European modernism, particularly the works of artists like Pablo Picasso and Henri Matisse. Over time, he developed his distinctive style, which often featured simple geometric shapes, such as circles, rectangles, and squares, arranged in balanced compositions. One of Scott's most iconic subjects was the still life, where he depicted everyday objects such as bottles, pans, and utensils.
These objects were often rendered in bold colours and simplified forms, creating compositions that were both abstract and evocative. Scott's paintings are characterised by their sense of balance and harmony, as well as their exploration of space and surface texture. He had a keen eye for colour relationships, often using subtle variations in hue and tone to create depth and atmosphere in his compositions. Scott, known for his minimalist approach and his ability to distill complex subjects into their essential elements, presents a captivating portrayal of a seated figure that is at once enigmatic and evocative.
In this artwork, Scott simplifies the human form into geometric shapes and fluid lines, creating a sense of rhythm and movement within the composition. The figure is rendered with bold, confident brushstrokes, emphasising its solidity and presence within the space. Despite the abstracted nature of the representation, there is a palpable sense of humanity and emotion conveyed through the posture and gesture of the figure.
Scott's use of color is evocative, with muted tones and subtle variations adding depth and dimension to the composition. The juxtaposition of light and shadow creates a sense of volume and presence, enhancing the sense of realism despite the abstraction of the subject matter. The figure is devoid of facial features or specific defining characteristics, allowing it to embody a universal quality that transcends individual identity.
Provenance
Mary ScottPrivate collection
Exhibitions
Tokyo Metropolitan Art Gallery, 3rd International Art Exhibition, 20 May- 4 December 1955, illus in b/w as 'Figure', touring to;Metropolitan Art Gallery, Tokyo, 20 May - 5 June 1955
Sogo Gallery, Osaka, 5 June - 6 July 1955
Culture Hall, Nagoya 13 July - 26 July 1955
Iwataya Gallery, Fukuoka 16 August - 24 August 1955
Public Hall Gallery, Saseho, 8 September - 25 September 1955
Watamabe Memorial Hall, Ube, 1 October - 15 October1955
Modern Art Museum, Takamatsu 23 October - 13 November1955
The Fukuya Tenmaya in Hiroshima, 22 November - 4 December1955
Hanover, Kestner-Gesellschaft, 2 June 1960- 5 February 1961, cat no.16, touring.
Bern, Kunsthalle, Victor Pasmore, William Scott, 12 July- 18 August 1963, ex cat.
Belfast, Ulster Museum, William Scott, 12 September- 5 October 1963, cat no.5
London, Tate Gallery, William Scott: Paintings, Drawings and Gouaches 1938-1971, 19 April-29 May 1972,
no.38, illus in b/w (as 'Seated Figure No.1, 1953', incorrectly identified as Bowness 1964, no.48)
Enniskillen, Fermanagh County Museum, William Scott Still Life Paintings 1946-1978, 19 May-29 September
1979, no.9 (dated 1953, incorrectly identified as having been exhibited at the Martha Jackson Gallery in
1954 and 1956), touring.
Dublin, Irish Museum of Modern Art, William Scott: Paintings and Drawings, 22 July- 1 November 1998,
no.23, illus in colour (dated 1953)
Wolfsburg, Kunstmuseum, Blast to Freeze: British Art in the 20th Century, 14 September 2002- 11 May
2003, touring.
New York, McCaffrey Fine Art, William Scott, 27 February- 17 April 2010 (dated 1953)
St Ives, Tate, William Scott, 26 January 2013- 2 February 2014, touring.
Literature
British Council Lecture, 1972, slide 39Margaret Garlake, New Art. New World. British Art in Postwar Society, Yale University Press, New Haven &
London, 1988,pp/203, 204, illus in b/w (as 'Seated Figure No.1', 1953)
Michael Tooby and Simon Morley, William Scott: Paintings and Drawings, Merrell Holberton in association
with the Irish Museum of Modern Art, London, 1998, pp.26, 57, illus in colour.
Norbert Lyndon, William Scott, Thames and Hudson, London, 2004, pp.128, 129, 130, illus in colour (as
'Seated Figure No.2').
Sarah Whitfield, William Scott Catalogue Raisonné of Oil Paintings 1952-1959, Volume 2, 1952-1959, cat
no.249 illus colour p103