العودة

SEAN SCULLY & nbsp(ب. 1945)

 
The frame of reference for Irish American Sean Scully’s signature blocks and stripes is vast. From Malevich’s central premise that geometry can provide the means for universal understanding to Rothko’s impassioned approach to color and rendering of the dramatic sublime, Scully learned how to condense the splendor of the natural world into simple modes of color, light, and composition. Born in Dublin in 1945 and London-raised, Scully was well-schooled in figurative drawing when he decided to catch the spirit of his lodestar, Henri Matisse, by visiting Morocco in 1969. He was captivated by the dazzling tessellated mosaics and richly dyed fabrics and began to paint grids and stipes of color. Subsequent adventures provided further inspiration as the play of intense light on the reflective surfaces of Mayan ruins and the ancient slabs of stone at Stonehenge brought the sensation of light, space, and geometric movement to Scully’s paintings. The ability to trace the impact of Scully’s travels throughout his paintings reaffirms the value of abstract art as a touchstone for real-life experience.<br><br><br>Painted in rich, deep hues and layered, nuanced surfaces, Grey Red is both poetic and full of muscular formalism. Scully appropriately refers to these elemental forms as ‘bricks,’ suggesting the formal calculations of an architect. As he explained, “these relationships that I see in the street doorways, in windows between buildings, and in the traces of structures that were once full of life, I take for my work. I use these colors and forms and put them together in a way that perhaps reminds you of something, though you’re not sure of that” (David Carrier, Sean Scully, 2004, pg. 98). His approach is organic, less formulaic; intuitive painter’s choices are layering one color upon another so that contrasting hues and colors vibrate with subliminal energy. Diebenkorn comes to mind in his pursuit of radiant light. But here, the radiant bands of terracotta red, gray, taupe, and black of Grey Red resonate with deep, smoldering energy and evoke far more affecting passion than you would think it could impart. As his good friend, Bono wrote, “Sean approaches the canvas like a kickboxer, a plasterer, a builder. The quality of painting screams of a life being lived.” The frame of reference for Irish American Sean Scully’s signature blocks and stripes is vast. From Malevich’s central premise that geometry can provide the means for universal understanding to Rothko’s impassioned approach to color and rendering of the dramatic sublime, Scully learned how to condense the splendor of the natural world into simple modes of color, light, and composition. Born in Dublin in 1945 and London-raised, Scully was well-schooled in figurative drawing when he decided to catch the spirit of his lodestar, Henri Matisse, by visiting Morocco in 1969. He was captivated by the dazzling tessellated mosaics and richly dyed fabrics and began to paint grids and stipes of color. Subsequent adventures provided further inspiration as the play of intense light on the reflective surfaces of Mayan ruins and the ancient slabs of stone at Stonehenge brought the sensation of light, space, and geometric movement to Scully’s paintings. The ability to trace the impact of Scully’s travels throughout his paintings reaffirms the value of abstract art as a touchstone for real-life experience.<br><br><br>Painted in rich, deep hues and layered, nuanced surfaces, Grey Red is both poetic and full of muscular formalism. Scully appropriately refers to these elemental forms as ‘bricks,’ suggesting the formal calculations of an architect. As he explained, “these relationships that I see in the street doorways, in windows between buildings, and in the traces of structures that were once full of life, I take for my work. I use these colors and forms and put them together in a way that perhaps reminds you of something, though you’re not sure of that” (David Carrier, Sean Scully, 2004, pg. 98). His approach is organic, less formulaic; intuitive painter’s choices are layering one color upon another so that contrasting hues and colors vibrate with subliminal energy. Diebenkorn comes to mind in his pursuit of radiant light. But here, the radiant bands of terracotta red, gray, taupe, and black of Grey Red resonate with deep, smoldering energy and evoke far more affecting passion than you would think it could impart. As his good friend, Bono wrote, “Sean approaches the canvas like a kickboxer, a plasterer, a builder. The quality of painting screams of a life being lived.” The frame of reference for Irish American Sean Scully’s signature blocks and stripes is vast. From Malevich’s central premise that geometry can provide the means for universal understanding to Rothko’s impassioned approach to color and rendering of the dramatic sublime, Scully learned how to condense the splendor of the natural world into simple modes of color, light, and composition. Born in Dublin in 1945 and London-raised, Scully was well-schooled in figurative drawing when he decided to catch the spirit of his lodestar, Henri Matisse, by visiting Morocco in 1969. He was captivated by the dazzling tessellated mosaics and richly dyed fabrics and began to paint grids and stipes of color. Subsequent adventures provided further inspiration as the play of intense light on the reflective surfaces of Mayan ruins and the ancient slabs of stone at Stonehenge brought the sensation of light, space, and geometric movement to Scully’s paintings. The ability to trace the impact of Scully’s travels throughout his paintings reaffirms the value of abstract art as a touchstone for real-life experience.<br><br><br>Painted in rich, deep hues and layered, nuanced surfaces, Grey Red is both poetic and full of muscular formalism. Scully appropriately refers to these elemental forms as ‘bricks,’ suggesting the formal calculations of an architect. As he explained, “these relationships that I see in the street doorways, in windows between buildings, and in the traces of structures that were once full of life, I take for my work. I use these colors and forms and put them together in a way that perhaps reminds you of something, though you’re not sure of that” (David Carrier, Sean Scully, 2004, pg. 98). His approach is organic, less formulaic; intuitive painter’s choices are layering one color upon another so that contrasting hues and colors vibrate with subliminal energy. Diebenkorn comes to mind in his pursuit of radiant light. But here, the radiant bands of terracotta red, gray, taupe, and black of Grey Red resonate with deep, smoldering energy and evoke far more affecting passion than you would think it could impart. As his good friend, Bono wrote, “Sean approaches the canvas like a kickboxer, a plasterer, a builder. The quality of painting screams of a life being lived.” The frame of reference for Irish American Sean Scully’s signature blocks and stripes is vast. From Malevich’s central premise that geometry can provide the means for universal understanding to Rothko’s impassioned approach to color and rendering of the dramatic sublime, Scully learned how to condense the splendor of the natural world into simple modes of color, light, and composition. Born in Dublin in 1945 and London-raised, Scully was well-schooled in figurative drawing when he decided to catch the spirit of his lodestar, Henri Matisse, by visiting Morocco in 1969. He was captivated by the dazzling tessellated mosaics and richly dyed fabrics and began to paint grids and stipes of color. Subsequent adventures provided further inspiration as the play of intense light on the reflective surfaces of Mayan ruins and the ancient slabs of stone at Stonehenge brought the sensation of light, space, and geometric movement to Scully’s paintings. The ability to trace the impact of Scully’s travels throughout his paintings reaffirms the value of abstract art as a touchstone for real-life experience.<br><br><br>Painted in rich, deep hues and layered, nuanced surfaces, Grey Red is both poetic and full of muscular formalism. Scully appropriately refers to these elemental forms as ‘bricks,’ suggesting the formal calculations of an architect. As he explained, “these relationships that I see in the street doorways, in windows between buildings, and in the traces of structures that were once full of life, I take for my work. I use these colors and forms and put them together in a way that perhaps reminds you of something, though you’re not sure of that” (David Carrier, Sean Scully, 2004, pg. 98). His approach is organic, less formulaic; intuitive painter’s choices are layering one color upon another so that contrasting hues and colors vibrate with subliminal energy. Diebenkorn comes to mind in his pursuit of radiant light. But here, the radiant bands of terracotta red, gray, taupe, and black of Grey Red resonate with deep, smoldering energy and evoke far more affecting passion than you would think it could impart. As his good friend, Bono wrote, “Sean approaches the canvas like a kickboxer, a plasterer, a builder. The quality of painting screams of a life being lived.” The frame of reference for Irish American Sean Scully’s signature blocks and stripes is vast. From Malevich’s central premise that geometry can provide the means for universal understanding to Rothko’s impassioned approach to color and rendering of the dramatic sublime, Scully learned how to condense the splendor of the natural world into simple modes of color, light, and composition. Born in Dublin in 1945 and London-raised, Scully was well-schooled in figurative drawing when he decided to catch the spirit of his lodestar, Henri Matisse, by visiting Morocco in 1969. He was captivated by the dazzling tessellated mosaics and richly dyed fabrics and began to paint grids and stipes of color. Subsequent adventures provided further inspiration as the play of intense light on the reflective surfaces of Mayan ruins and the ancient slabs of stone at Stonehenge brought the sensation of light, space, and geometric movement to Scully’s paintings. The ability to trace the impact of Scully’s travels throughout his paintings reaffirms the value of abstract art as a touchstone for real-life experience.<br><br><br>Painted in rich, deep hues and layered, nuanced surfaces, Grey Red is both poetic and full of muscular formalism. Scully appropriately refers to these elemental forms as ‘bricks,’ suggesting the formal calculations of an architect. As he explained, “these relationships that I see in the street doorways, in windows between buildings, and in the traces of structures that were once full of life, I take for my work. I use these colors and forms and put them together in a way that perhaps reminds you of something, though you’re not sure of that” (David Carrier, Sean Scully, 2004, pg. 98). His approach is organic, less formulaic; intuitive painter’s choices are layering one color upon another so that contrasting hues and colors vibrate with subliminal energy. Diebenkorn comes to mind in his pursuit of radiant light. But here, the radiant bands of terracotta red, gray, taupe, and black of Grey Red resonate with deep, smoldering energy and evoke far more affecting passion than you would think it could impart. As his good friend, Bono wrote, “Sean approaches the canvas like a kickboxer, a plasterer, a builder. The quality of painting screams of a life being lived.” The frame of reference for Irish American Sean Scully’s signature blocks and stripes is vast. From Malevich’s central premise that geometry can provide the means for universal understanding to Rothko’s impassioned approach to color and rendering of the dramatic sublime, Scully learned how to condense the splendor of the natural world into simple modes of color, light, and composition. Born in Dublin in 1945 and London-raised, Scully was well-schooled in figurative drawing when he decided to catch the spirit of his lodestar, Henri Matisse, by visiting Morocco in 1969. He was captivated by the dazzling tessellated mosaics and richly dyed fabrics and began to paint grids and stipes of color. Subsequent adventures provided further inspiration as the play of intense light on the reflective surfaces of Mayan ruins and the ancient slabs of stone at Stonehenge brought the sensation of light, space, and geometric movement to Scully’s paintings. The ability to trace the impact of Scully’s travels throughout his paintings reaffirms the value of abstract art as a touchstone for real-life experience.<br><br><br>Painted in rich, deep hues and layered, nuanced surfaces, Grey Red is both poetic and full of muscular formalism. Scully appropriately refers to these elemental forms as ‘bricks,’ suggesting the formal calculations of an architect. As he explained, “these relationships that I see in the street doorways, in windows between buildings, and in the traces of structures that were once full of life, I take for my work. I use these colors and forms and put them together in a way that perhaps reminds you of something, though you’re not sure of that” (David Carrier, Sean Scully, 2004, pg. 98). His approach is organic, less formulaic; intuitive painter’s choices are layering one color upon another so that contrasting hues and colors vibrate with subliminal energy. Diebenkorn comes to mind in his pursuit of radiant light. But here, the radiant bands of terracotta red, gray, taupe, and black of Grey Red resonate with deep, smoldering energy and evoke far more affecting passion than you would think it could impart. As his good friend, Bono wrote, “Sean approaches the canvas like a kickboxer, a plasterer, a builder. The quality of painting screams of a life being lived.” The frame of reference for Irish American Sean Scully’s signature blocks and stripes is vast. From Malevich’s central premise that geometry can provide the means for universal understanding to Rothko’s impassioned approach to color and rendering of the dramatic sublime, Scully learned how to condense the splendor of the natural world into simple modes of color, light, and composition. Born in Dublin in 1945 and London-raised, Scully was well-schooled in figurative drawing when he decided to catch the spirit of his lodestar, Henri Matisse, by visiting Morocco in 1969. He was captivated by the dazzling tessellated mosaics and richly dyed fabrics and began to paint grids and stipes of color. Subsequent adventures provided further inspiration as the play of intense light on the reflective surfaces of Mayan ruins and the ancient slabs of stone at Stonehenge brought the sensation of light, space, and geometric movement to Scully’s paintings. The ability to trace the impact of Scully’s travels throughout his paintings reaffirms the value of abstract art as a touchstone for real-life experience.<br><br><br>Painted in rich, deep hues and layered, nuanced surfaces, Grey Red is both poetic and full of muscular formalism. Scully appropriately refers to these elemental forms as ‘bricks,’ suggesting the formal calculations of an architect. As he explained, “these relationships that I see in the street doorways, in windows between buildings, and in the traces of structures that were once full of life, I take for my work. I use these colors and forms and put them together in a way that perhaps reminds you of something, though you’re not sure of that” (David Carrier, Sean Scully, 2004, pg. 98). His approach is organic, less formulaic; intuitive painter’s choices are layering one color upon another so that contrasting hues and colors vibrate with subliminal energy. Diebenkorn comes to mind in his pursuit of radiant light. But here, the radiant bands of terracotta red, gray, taupe, and black of Grey Red resonate with deep, smoldering energy and evoke far more affecting passion than you would think it could impart. As his good friend, Bono wrote, “Sean approaches the canvas like a kickboxer, a plasterer, a builder. The quality of painting screams of a life being lived.” The frame of reference for Irish American Sean Scully’s signature blocks and stripes is vast. From Malevich’s central premise that geometry can provide the means for universal understanding to Rothko’s impassioned approach to color and rendering of the dramatic sublime, Scully learned how to condense the splendor of the natural world into simple modes of color, light, and composition. Born in Dublin in 1945 and London-raised, Scully was well-schooled in figurative drawing when he decided to catch the spirit of his lodestar, Henri Matisse, by visiting Morocco in 1969. He was captivated by the dazzling tessellated mosaics and richly dyed fabrics and began to paint grids and stipes of color. Subsequent adventures provided further inspiration as the play of intense light on the reflective surfaces of Mayan ruins and the ancient slabs of stone at Stonehenge brought the sensation of light, space, and geometric movement to Scully’s paintings. The ability to trace the impact of Scully’s travels throughout his paintings reaffirms the value of abstract art as a touchstone for real-life experience.<br><br><br>Painted in rich, deep hues and layered, nuanced surfaces, Grey Red is both poetic and full of muscular formalism. Scully appropriately refers to these elemental forms as ‘bricks,’ suggesting the formal calculations of an architect. As he explained, “these relationships that I see in the street doorways, in windows between buildings, and in the traces of structures that were once full of life, I take for my work. I use these colors and forms and put them together in a way that perhaps reminds you of something, though you’re not sure of that” (David Carrier, Sean Scully, 2004, pg. 98). His approach is organic, less formulaic; intuitive painter’s choices are layering one color upon another so that contrasting hues and colors vibrate with subliminal energy. Diebenkorn comes to mind in his pursuit of radiant light. But here, the radiant bands of terracotta red, gray, taupe, and black of Grey Red resonate with deep, smoldering energy and evoke far more affecting passion than you would think it could impart. As his good friend, Bono wrote, “Sean approaches the canvas like a kickboxer, a plasterer, a builder. The quality of painting screams of a life being lived.” The frame of reference for Irish American Sean Scully’s signature blocks and stripes is vast. From Malevich’s central premise that geometry can provide the means for universal understanding to Rothko’s impassioned approach to color and rendering of the dramatic sublime, Scully learned how to condense the splendor of the natural world into simple modes of color, light, and composition. Born in Dublin in 1945 and London-raised, Scully was well-schooled in figurative drawing when he decided to catch the spirit of his lodestar, Henri Matisse, by visiting Morocco in 1969. He was captivated by the dazzling tessellated mosaics and richly dyed fabrics and began to paint grids and stipes of color. Subsequent adventures provided further inspiration as the play of intense light on the reflective surfaces of Mayan ruins and the ancient slabs of stone at Stonehenge brought the sensation of light, space, and geometric movement to Scully’s paintings. The ability to trace the impact of Scully’s travels throughout his paintings reaffirms the value of abstract art as a touchstone for real-life experience.<br><br><br>Painted in rich, deep hues and layered, nuanced surfaces, Grey Red is both poetic and full of muscular formalism. Scully appropriately refers to these elemental forms as ‘bricks,’ suggesting the formal calculations of an architect. As he explained, “these relationships that I see in the street doorways, in windows between buildings, and in the traces of structures that were once full of life, I take for my work. I use these colors and forms and put them together in a way that perhaps reminds you of something, though you’re not sure of that” (David Carrier, Sean Scully, 2004, pg. 98). His approach is organic, less formulaic; intuitive painter’s choices are layering one color upon another so that contrasting hues and colors vibrate with subliminal energy. Diebenkorn comes to mind in his pursuit of radiant light. But here, the radiant bands of terracotta red, gray, taupe, and black of Grey Red resonate with deep, smoldering energy and evoke far more affecting passion than you would think it could impart. As his good friend, Bono wrote, “Sean approaches the canvas like a kickboxer, a plasterer, a builder. The quality of painting screams of a life being lived.” The frame of reference for Irish American Sean Scully’s signature blocks and stripes is vast. From Malevich’s central premise that geometry can provide the means for universal understanding to Rothko’s impassioned approach to color and rendering of the dramatic sublime, Scully learned how to condense the splendor of the natural world into simple modes of color, light, and composition. Born in Dublin in 1945 and London-raised, Scully was well-schooled in figurative drawing when he decided to catch the spirit of his lodestar, Henri Matisse, by visiting Morocco in 1969. He was captivated by the dazzling tessellated mosaics and richly dyed fabrics and began to paint grids and stipes of color. Subsequent adventures provided further inspiration as the play of intense light on the reflective surfaces of Mayan ruins and the ancient slabs of stone at Stonehenge brought the sensation of light, space, and geometric movement to Scully’s paintings. The ability to trace the impact of Scully’s travels throughout his paintings reaffirms the value of abstract art as a touchstone for real-life experience.<br><br><br>Painted in rich, deep hues and layered, nuanced surfaces, Grey Red is both poetic and full of muscular formalism. Scully appropriately refers to these elemental forms as ‘bricks,’ suggesting the formal calculations of an architect. As he explained, “these relationships that I see in the street doorways, in windows between buildings, and in the traces of structures that were once full of life, I take for my work. I use these colors and forms and put them together in a way that perhaps reminds you of something, though you’re not sure of that” (David Carrier, Sean Scully, 2004, pg. 98). His approach is organic, less formulaic; intuitive painter’s choices are layering one color upon another so that contrasting hues and colors vibrate with subliminal energy. Diebenkorn comes to mind in his pursuit of radiant light. But here, the radiant bands of terracotta red, gray, taupe, and black of Grey Red resonate with deep, smoldering energy and evoke far more affecting passion than you would think it could impart. As his good friend, Bono wrote, “Sean approaches the canvas like a kickboxer, a plasterer, a builder. The quality of painting screams of a life being lived.”
رمادي أحمر201285 × 75 بوصة. (215.9 × 190.5 سم) زيت على الألومنيوم
الاصل
تيموثي تايلور، لندن، إنجلترا
مجموعة خاصة
مجموعة خاصة، لندن، إنجلترا
فيليبس (لندن ، إنجلترا) ، 5 أكتوبر 2016: "20th Century & Contemporary Art Evening Sale" ، Lot 8
المجموعة الخاصة ، التي تم الحصول عليها من البيع أعلاه
فيليبس لندن: الخميس 8 مارس 2018 ، Lot 00035 ، القرن العشرين والفن المعاصر مساء بيع
المجموعة الخاصة ، التي تم الحصول عليها من البيع أعلاه
معرض
الأكاديمية الملكية للفنون (لندن، إنجلترا)، "المعرض الصيفي ال 244 للأكاديمية الملكية للفنون"، 4 يونيو - 12 أغسطس 2012. المدرجة في ر... اكثر...كتالوج المعرض، رقم 847
معرض فيري (وندسور ، إنجلترا) ، "شون سكولي" ، 3 أكتوبر 2012 - 28 فبراير 2013
الادب
زويت، أرمين، "شون سكولي: لوحات وأعمال على الورق"، (ميونيخ، ألمانيا: غاليري بيرند كلوسر، 1993)، صفحة 7
كاريير ، ديفيد ، "شون سكولي" ، (لندن ، إنجلترا: التايمز وهدسون ، 2006) ، صفحة 98
أوسوليفان ، مارك ، "شون سكولي: الشكل / الملخص" ، (أوستفيلدرن ، ألمانيا: هاتجي كانتز فيرلاغ ، 2014) ، صفحة 7
... اقل...
الاستفسار

"هذه العلاقات التي أراها في مداخل الشوارع ، وفي النوافذ بين المباني ، وفي آثار الهياكل التي كانت ذات يوم مليئة بالحياة ، أأخذها لعملي. أستخدم هذه الألوان والأشكال وأضعها معا بطريقة ربما تذكرك بشيء ما ، على الرغم من أنك لست متأكدا من ذلك" - شون سكولي

التاريخ

الإطار المرجعي لكتل وخطوط توقيع الأمريكي الأيرلندي شون سكولي واسع. من فرضية ماليفيتش المركزية بأن الهندسة يمكن أن توفر وسائل للفهم العالمي إلى نهج روثكو المتحمس للون وتقديم السمو الدرامي ، تعلم سكولي كيفية تكثيف روعة العالم الطبيعي في أنماط بسيطة من اللون والضوء والتكوين. ولد سكولي في دبلن عام 1945 وترعرع في لندن، وتلقى تعليما جيدا في الرسم التصويري عندما قرر أن يستوعب روح نجمه هنري ماتيس من خلال زيارة المغرب في عام 1969. كان مفتونا بالفسيفساء المبهرة والأقمشة المصبوغة بشكل غني وبدأ في رسم الشبكات وشرائح الألوان. قدمت المغامرات اللاحقة مزيدا من الإلهام حيث جلب لعب الضوء المكثف على الأسطح العاكسة لأطلال المايا وألواح الحجر القديمة في ستونهنج الإحساس بالضوء والفضاء والحركة الهندسية إلى لوحات سكولي . تؤكد القدرة على تتبع تأثير رحلات سكالي طوال لوحاته من جديد على قيمة الفن التجريدي كمحك لتجربة الحياة الحقيقية.


تم طلاء Grey Red بألوان غنية وعميقة وأسطح متعددة الطبقات ودقيقة ، وهو شاعري ومليء بالشكليات العضلية. يشير سكالي بشكل مناسب إلى هذه الأشكال الأولية باسم "الطوب" ، مما يشير إلى الحسابات الرسمية للمهندس المعماري. كما أوضح، «هذه العلاقات التي أراها في مداخل الشوارع، في النوافذ بين المباني، وفي آثار الهياكل التي كانت مليئة بالحياة، أعتبرها لعملي. أستخدم هذه الألوان والأشكال وأضعها معا بطريقة ربما تذكرك بشيء ما ، على الرغم من أنك لست متأكدا من ذلك "(ديفيد كاريير ، شون سكالي ، 2004 ، ص 98). نهجه عضوي ، أقل صيغة. خيارات الرسام البديهي هي طبقات من لون على آخر بحيث تهتز الأشكال والألوان المتناقضة بطاقة لا شعورية. يتبادر إلى الذهن ديبنكورن في سعيه وراء الضوء المشع. ولكن هنا ، فإن العصابات المشعة من الطين الأحمر والرمادي والرمادي الداكن والأسود من الرمادي الأحمر يتردد صداها مع طاقة عميقة ومشتعلة وتثير شغفا مؤثرا أكثر بكثير مما تعتقد أنه يمكن أن ينقله. كما كتب صديقه العزيز ، بونو ، "يقترب شون من القماش مثل الكيك بوكسر ، الجص ، البناء. جودة اللوحة تصرخ من حياة تعيشها".

"فني قائم على النجاسة. عليك أن تمزج الأشياء من ثقافات مختلفة راقية للحصول على شيء خام ، لجعله يذهب مرة أخرى. "- شون سكولي

رؤى السوق

  • Scully_Record
  • تم تسجيل الرقم القياسي لمزاد سكالي في مايو 2022 عندما بيعت سونغ ، 1985 ، (يسار) بأكثر من 2 مليون دولار في سوذبيز نيويورك.
  • من بين أفضل عشر نتائج ل Scully في المزاد ، تم رسم تسعة بعد عام 2000. والأكثر من ذلك، أن سبعة من هذه النتائج العشرة الأولى هي للأعمال الفنية التي يعود تاريخها إلى ما بعد عام 2010، مما يثبت رغبة قوية بشكل استثنائي في هذه الأعمال الأكثر معاصرة.
  • كان عام 2012 عاما مهما بشكل خاص للفنان حيث كان لديه تسعة معارض متحف فردية هذا العام وحده في مؤسسات مثل Kunstmuseum Bern و Alhambra ومتحف فيلادلفيا للفنون.
  • كان عام 2012 أيضا هو العام الذي تم فيه قبول سكولي في الأكاديمية الملكية للفنون.

تاريخ المعرض

  • بعد فترة وجيزة من الانتهاء من Grey Red ، تم تضمين اللوحة في المعارض البارزة. 
  • كان اللون الأحمر الرمادي رقم 847 في كتالوج المعرض الصيفي للأكاديمية الملكية للفنون رقم 244.
  • تم عرض اللون الرمادي الأحمر في معرض "شون سكالي" لعام 2012 في معرض فيري التابع لكلية إيتون في وندسور ، إنجلترا (يمين).

لوحات في مجموعات المتحف

متحف نيلسون أتكينز للفنون ، كانساس سيتي ، ميزوري

"خط أرضي تابان" (2015)، زيت على الألمنيوم، 118 × 74 3/4 بوصة.

الأكاديمية الملكية للفنون، لندن

"Doric Persephone" (2012) ، زيت على الكتان ، 28 × 38 بوصة.

متحف دي يونغ، سان فرانسيسكو

"مستنقع أرضي" (2015)، زيت على الألمنيوم، 118 1/8 × 74 7/8 بوصة.

متحف المتروبوليتان للفنون، نيويورك

"Cut Ground" (2006)، زيت على قماش، 96 × 144 بوصة.

مجموعة فيليبس، واشنطن العاصمة

"Niels" (2001) ، زيت على قماش ، 75 × 85 بوصة.

متحف الفنون الجميلة ، هيوستن

"جدار الظل الأحمر الفاتح" (2010) ، 84 × 120 1/2 بوصة.
"الفن تحويلي. انها ليست 2 + 2 = 4. إنه يعمل مثل البحر. إنه يغير الجغرافيا من خلال حركته المستمرة التي لا هوادة فيها ، تماما بالطريقة التي تشكل بها النباتات والمياه العالم. "- شون سكولي

معرض الصور

موارد إضافية

شون سكولي على جمع

في هذه المقابلة مع صحيفة نيويورك تايمز ، يشارك سكولي ما يلهمه لجمع الفن ويشارك أفكاره حول بعض النقاط البارزة في مجموعته.

رحلة الفنانين: شون سكولي على هنري ماتيس

في هذا الفيلم يناقش فيه سكولي أعمال هنري ماتيس، واهتمامهما المشترك بالثقافة المغربية، والطرق التي أثر بها هذا الاهتمام على لوحتهما.

معرض متحف فيلادلفيا للفنون

استكشف المعرض الحالي لمتحف فيلادلفيا للفنون لأعمال سكولي ، "شون سكولي: شكل الأفكار" ، والذي يستمر حتى 31 يوليو 2022.

CBS صباح الأحد

انظر ميزة CBS الأخيرة حول أعمال سكالي ومعرض الفنان في متحف فيلادلفيا للفنون ، "الفن الهندسي لشون سكولي".

الاستفسار

الاستعلام - الفن واحد

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