We are sad to hear the news that Sir Alan Bowness has passed away. Sir Alan Bowness gave enormous support to the William Scott Foundation during the preparation of the Catalogue Raisonné, having an in depth knowledge on William Scott.
He had a close relationship with Scott and in 1972, Bowness in collaboration with the artist, organised the major retrospective exhibition at the Tate Gallery, William Scott, Paintings Drawings and Gouaches 1938–1971. The catalogue was written by Bowness and was his second text to appear on the artist. The first, in 1964, a Monograph on William Scott.
The William Scott Catalogue Raisonné of Oil Paintings is one of the essential texts on leading artist selected by Anna Brady.
This hefty four-volume catalogue raisonné was published to mark the centenary of the British artist’s birth. Containing more than 1,000 paintings completed by Scott between 1928 and 1986, the catalogue took six years to compile and draws on material from the Scott family archive, including many previously unpublished letters. Continue reading “Six of the best catalogues raisonnés”
The designers behind a new app hope their work will give unique and easy access to some of the country’s greatest art treasures.
The free app, Art Crush, has been developed by Newcastle-based digital design agency Bloom as part of Sunderland Culture’s prestigious partnership with Arts Council Collection (ACC), the National Partners Programme. Sunderland Museum and Winter Gardens is one of only three galleries nationwide chosen to host artwork from the Arts Council Collection, an important national loan collection of modern and contemporary British Art.
The app will showcase works from the ACC, which includes art by William Scott. Continue reading “Art Crush”
It is with great sadness that the William Scott Foundation has lost Trustee Ludovic de Walden “Ludo” on 2 November 2020 after a short battle with COVID-19.
Ludo gave us enormous support and resolved numerous intellectual property issues, his knowledge, guidance and gregariousness will be hugely missed.
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)”