William Scott

Scott was born in Greenock, Scotland, in 1913 and raised there and in Northern Ireland. He received his art training in Belfast and London, at Enniskillen Technical School and then the Belfast College of Art. In 1931, he left Belfast and moved to London, where he studied at the Royal Academy Schools. Scott married in 1937, and in the following two years he moved to Pont-Aven, Brittany, and traveled throughout France. Scott returned to Britain before the outbreak of World War II and began teaching. He had his first solo exhibition in 1948 at the Leicester Galleries in London, and by the early 1950s he was exhibiting extensively.

Scott’s first of many solo exhibitions at the Hanover Gallery, London, took place in 1953. That summer he visited New York, where he met Mark Rothko, Willem de Kooning, and Jackson Pollock, which would encourage a newfound freedom of scale and color in his work. His first New York exhibition was in 1954 (Three British Artists: Hepworth, Bacon, and Scott) at the Martha Jackson Gallery.

Scott showed at the Hanover Gallery until 1971 and at Martha Jackson until 1979, becoming, along with Francis Bacon and Henry Moore, one of the few British artists of his generation to gain an international reputation. Thereafter, representation of Scott in Britain passed to Gimpel Fils, but it lapsed in the United States after the closure of the Martha Jackson Gallery. Scott died in 1989.

Scott represented Britain at the XXIX Venice Biennale, in 1958. The first major retrospective of his work occurred in 1960 at the Kestner Gesellschaft, Hannover. Further retrospectives have taken place at the Kunsthalle Bern, 1963; Tate Gallery, London, 1972; Albright-Knox Art Gallery, Buffalo, 1975; Scottish National Gallery of Modern Art, Edinburgh, 1986; Irish Museum of Modern Art, Dublin, 1998; and Tate St. Ives, 2013.

Selected Artworks

March 27, 2017

Art Basel HK Verdict – Encouraging Sales Across The Board For 2017

Artlyst

Art Basel’s fifth edition in Hong Kong has closed with encouraging sales recorded across all levels of the market. This demonstrates a continued demand for high-quality works by the world’s leading international collectors and institutions. Attendance at this year’s show, whose Lead Partner is UBS, rose to nearly 80,000 – due to the introduction of evening ticket sales and improved crowd control measures – and attracted leading members of the international art world. Many observers felt that this edition had built on the show’s strong history to attain new levels – Art Basel in Hong Kong now not only stands as the premier fair in Asia but also as one of the leading fairs worldwide. Read More
March 3, 2017

The 20 Best Booths at The Armory Show

ARTSY EDITORIAL by Alexxa Gotthardt

Fergus McCaffrey’s elegant booth mingles the practices of two American artists who came of age in the 1960s and happen to be great friends. The works of Marcia Hafif and Richard Nonas, however, differ greatly—and that’s precisely what makes this presentation so compelling. Hafif’s hyper-saturated canvases featuring curvaceous forms that resemble bodily contours (she calls these her “Pop-Minimal” paintings) draw you in. Nonas’s more subtle patinaed steel sculptures cover the floor. They resemble architectural forms or ritualized objects; given Nonas’s early years as an anthropologist, they just might be inspired by them, too. Read More