State Apartment Galleries, Dublin Castle
Office of Public Works
Isolated on the Western fringes of Europe it took time before the influence of early 20th century European developments in art reached these shores. This exhibition explores the development of modernism in Ireland beginning in 1920, a period of political turmoil in this country and ends in the modern Ireland of 1960. It will contrast the traditional ‘Irish School of painting’ of the male dominated RHA favoured by de Valera and the new Irish Government to that of the European influenced art that was being championed by women artists such as Mainie Jellett, Evie Hone and Norah McGuinness amongst others through the Dublin Painters Society and the IELA exhibitions. Continue reading “The Birth of Modernism in Irish Art 1920-1960”
Home means different things to different people. Our relationship with our homes inﬂuences the way we think about ourselves and each other.
This Life is so Everyday reﬂects on social changes in British home lives between 1950 and 1980. It looks at how artists have used depictions of the domestic to signify our diverse experiences, question ideas of gender, class and sexuality, and represent some of the most intimate aspects of who we are.
Talk: William Scott and his Circle: from Dylan Thomas to Mark Rothko
with Jon Benington, Manager, Victoria Art Gallery
This talk explores Scott’s path from figuration to abstraction, ranging from 1928 as a precocious 15-year old schoolboy in Northern Ireland, leading up to 1953 when he met and befriended Mark Rothko in New York. Coming from a working class background, Scott developed an uncanny knack for being in the right place at the right time, whilst gravitating towards the most progressive developments in French and American art. Continue reading “William Scott and his Circle: from Dylan Thomas to Mark Rothko”
Opening on 6 March, Charleston’s second exhibition in the new Wolfson Gallery positions the work of former Charleston residents – Vanessa Bell (1879-1961) and Duncan Grant (1885-1978) – within a century of great British colourists, including William Scott.
In January 1934, William Scott, then a student at the RA Schools in London, decided to switch from studying sculpture to painting. Although at the time this request was made on the grounds that he felt more inclined to be a painter, Scott later explained that it had been for practical reasons: ‘One had to be pretty mobile in the early thirties. Continue reading “Archive Blog – January 2019”
In 1963, the Ford Foundation invited William Scott to spend a year as an artist in residence in Berlin. There were no specific obligations attached: ‘We want you to continue your work as you see fit, at the same time we hope you would like to become part of Berlin’s cultural and intellectual life.’ Continue reading “Archive Blog – November 2018”
In 1959, William Scott was awarded first prize in the British Painters section of the John Moores’ exhibition, held at the Walker Art Gallery in Liverpool, for his large painting Blue Abstract. A critic writing in The Guardian told his readers that the painting, ‘burns under a ceramic-like surface like a window into a Continue reading “Archive Blog – November 2018”
In 1958, William Scott was one of the painters chosen to represent Great Britain at the Carnegie Institute’s Pittsburg International Exhibition of Contemporary Painting and Sculpture. The jury of award that year included Marcel Duchamp, Vincent Price and James Johnson Sweeney. Continue reading “Archive Blog – October 2018”