The distinguished classical guitarist Julian Bream died on 14 August. He had a wide range of interests outside music and was renowned for his fine collection of 19th and 20th century British art. He was a friend of William and Mary Scott and is pictured here having tea with the Scotts at Hallatrow in these photos taken by James Scott in 1958.
To some art critics, the twentieth-century British artist William Scott‘s kitchen-table still lifes are too timid – as Roberta Smith wrote in The New York Times, they can be seen as ‘abstract paintings for people who don’t like abstraction’. Others, myself included, find them enticingly reduced and for the most part easily readable, which is part of their charm.
Read Chloë Ashby’s article by clicking on the link below
To mark William Scott’s birthday, BBC Radio Ulster Radio played an interview from 1979, when Scott was interviewed by Robin Harris. You can listen to it here:
BBC Radio Ulster Radio also played an interview with Scott’s nephew Cardwell McClure, which can be heard here
A Portadown man’s connection with the artist William Scott can be listened to here:
Photographs on BBC Radio Ulster’s website of Scott can be seen here:
The works, including a William Scott painting, will go on display in February 2020
The donation has been made through the Government’s Cultural Gifts Scheme
A sculpture by Dame Barbara Hepworth (1903-1975), a sculpture by Denis Mitchell (1912-1993) and a painting by William Scott CBE RA (1913-1989) have been acquired for the nation through the Cultural Gifts Scheme, administered by the Arts Council. Continue reading “Three works by British Modernist Artists Gifted to the Nation”
Read Aidan Dunne’s article in The Irish Times
The elegant simplicity of Scott’s celebrated work emerged from a long apprenticeship
What is it?
Untitled (Plate, Grapes, Pear & Jug) is a 1975 charcoal drawing by William Scott (1913-1989).
How was it done?
Scott is probably best known as a painter, but there is a strongly graphic character to much of his painting, and drawing was always important to him even though, until the early 1970s, he chose not to exhibit his drawings. It is as though, prior to this time, he regarded drawing as a mode of personal research and experimentation. The inclusion of drawings in two major shows of his work in 1971 and 1972 – to great acclaim – changed his mind, and from then on drawing was a significant, primary pursuit. Continue reading “Article: Art in Focus: Untitled (Plate, Grapes, Pear & Jug)”