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שון סקאלי(נולד ב- 1945)

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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.”
אדום אפור201285 x 75 אינץ '. (215.9 x 190.5 ס"מ) שמן על אלומיניום
מקור ומקור
טימותי טיילור, לונדון, אנגליה
אוסף פרטי
אוסף פרטי, לונדון, אנגליה
פיליפס (לונדון, אנגליה), 5 באוקטובר 2016: "מכירת ערב המאה ה-20 ואמנות עכשווית", לוט 8
אוסף פרטי, שנרכש מהמכירה הנ"ל
פיליפס לונדון: יום חמישי, 8 במרץ 2018, Lot 00035, מכירת ערב ערב המאה ה-20 ואמנות עכשווית
אוסף פרטי, שנרכש מהמכירה הנ"ל
תערוכה
האקדמיה המלכותית לאמנויות (לונדון, אנגליה), "תערוכת הקיץ ה-244 של האקדמיה המלכותית לאמנויות", 4 ביוני - 12 באוגוסט 2012. כלול ב- t... עוד...קטלוג התערוכה, מס' 847
גלריית ורי (וינדזור, אנגליה), "שון סקאלי", 3 באוקטובר 2012 - 28 בפברואר 2013
ספרות
זווייט, ארמין, "שון סקאלי: ציורים ועבודות על נייר", (מינכן, גרמניה: גלריה ברנד קלוזר, 1993), עמוד 7
מוביל, דייוויד, "שון סקאלי", (לונדון, אנגליה: התמזה והדסון, 2006), עמוד 98
או'סאליבן, מארק, "שון סקאלי: דמות/מופשטת", (אוסטפילדרן, גרמניה: האטיה קנץ ורלאג, 2014), עמוד 7
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"את מערכות היחסים האלה שאני רואה בפתחי הרחובות, בחלונות שבין בניינים, ובעקבות מבנים שפעם היו מלאי חיים, אני לוקחת על עצמי את העבודה. אני משתמש בצבעים ובצורות האלה ומחבר אותם יחד בצורה שאולי מזכירה לך משהו, למרות שאתה לא בטוח בזה" – שון סקאלי

היסטוריה

מסגרת ההתייחסות לבלוקים ולפסים הייחודיים של שון סקאלי האירי-אמריקאי היא עצומה. מהנחת היסוד המרכזית של מלביץ' שהגאומטריה יכולה לספק את האמצעים להבנה אוניברסלית ועד לגישתו החצופה של רותקו לצבע ולעיבוד של הנשגב הדרמטי, למד סקאלי כיצד לתמצת את הפאר של עולם הטבע למצבים פשוטים של צבע, אור וקומפוזיציה. סקאלי , שנולד בדבלין ב-1945 וגדל בלונדון, למד היטב בציור פיגורטיבי כשהחליט לתפוס את רוחו של כוכב הלודסטאר שלו, אנרי מאטיס, בביקור במרוקו ב-1969. הוא נשבה בקסם הפסיפסים המסנוורים והבדים הצבועים בעושר והחל לצבוע רשתות ופיסות צבע. הרפתקאות מאוחרות יותר סיפקו השראה נוספת כאשר משחק האור העז על המשטחים הרפלקטיביים של חורבות המאיה ולוחות האבן העתיקים בסטונהנג 'הביאו את תחושת האור, החלל והתנועה הגיאומטרית לציוריו של סקאלי . היכולת להתחקות אחר השפעת מסעותיו של סקאלי לאורך ציוריו מאשרת מחדש את ערכה של האמנות המופשטת כאבן בוחן לחוויה בחיים האמיתיים.


צבוע בגוונים עשירים ועמוקים ובמשטחים שכבתיים ומלאי ניואנסים, אדום אפור הוא פיוטי ומלא בפורמליזם שרירי. סקאלי מתייחס כראוי לצורות יסוד אלה כ"לבנים", ומציע את החישובים הפורמליים של אדריכל. כפי שהסביר, "את היחסים האלה שאני רואה בפתחי הרחוב, בחלונות בין בניינים, ובעקבות של מבנים שהיו פעם שוקקי חיים, אני לוקח לעבודתי. אני משתמש בצבעים ובצורות האלה ומרכיב אותם יחד באופן שאולי מזכיר לך משהו, אם כי אתה לא בטוח בכך" (David Carrier, Sean Scully, 2004, pg. 98). גישתו אורגנית, פחות נוסחתית; הבחירות של צייר אינטואיטיבי הן שכבות צבע אחד על גבי משנהו, כך שגוונים וצבעים מנוגדים רוטטים באנרגיה סאבלימינלית. דיבנקורן עולה על הדעת במרדף שלו אחר אור קורן. אבל כאן, הפסים הקורנים של אדום טרקוטה, אפור, אפור ושחור של אדום אפור מהדהדים באנרגיה עמוקה ומעושנת ומעוררים תשוקה משפיעה הרבה יותר ממה שהייתם חושבים שהיא יכולה להקנות. חברו הטוב כתב בונו: "שון ניגש אל הבד כמו קיקבוקסר, טייח, בנאי. איכות הציור זועקת על חיים שחיים".

"האמנות שלי מבוססת על טומאה. אתה צריך לערבב דברים מתרבויות מעודנות שונות כדי להשיג משהו גולמי, כדי לגרום לו ללכת שוב." – שון סקאלי

תובנות שוק

  • Scully_Record
  • שיא המכירות הפומביות של סקאלי נקבע במאי 2022 כאשר סונג, 1985, (משמאל) נמכר ביותר מ-2 מיליון דולר בסותבי'ס ניו יורק.
  • מתוך עשר התוצאות המובילות של סקאלי במכירה פומבית, תשע צוירו לאחר שנת 2000. יתרה מכך, שבע מתוך עשר התוצאות המובילות הללו הן עבור יצירות אמנות המתוארכות לאחר 2010, מה שמוכיח תשוקה עזה במיוחד ליצירות עכשוויות יותר אלה.
  • 2012 הייתה שנה חשובה במיוחד עבור האמן שכן היו לו תשע תערוכות יחיד במוזיאון השנה בלבד במוסדות כמו מוזיאון קונסטמוזיאום ברן, אלהמברה ומוזיאון פילדלפיה לאמנות.
  • 2012 הייתה גם השנה בה התקבל סקאלי לאקדמיה המלכותית לאמנות.

היסטוריית התערוכה

  • זמן קצר לאחר השלמתו של גריי רד, נכלל הציור בתערוכות בולטות. 
  • אדום אפור היה מספר 847 בקטלוג תערוכת הקיץ ה-244 של האקדמיה המלכותית לאמנויות.
  • אדום אפור הוצג בתערוכה "שון סקאלי" בשנת 2012 בגלריה Verey של איטון קולג' בווינדזור, אנגליה (מימין).

ציורים באוספי מוזיאונים

"טאפאן קווי" (2015), שמן על אלומיניום, 118 x 74 3/4 אינץ'.

מוזיאון נלסון-אטקינס לאמנות, קנזס סיטי, מיזורי

"טאפאן קווי" (2015), שמן על אלומיניום, 118 x 74 3/4 אינץ'.
"דורית פרספונה" (2012), שמן על פשתן, 28X38 אינץ'.

האקדמיה המלכותית לאמנויות, לונדון

"דורית פרספונה" (2012), שמן על פשתן, 28X38 אינץ'.
"מור קווי" (2015), שמן על אלומיניום, 118 1/8 x 74 7/8 אינץ'.

מוזיאון דה יאנג, סן פרנסיסקו

"מור קווי" (2015), שמן על אלומיניום, 118 1/8 x 74 7/8 אינץ'.
"לחתוך קרקע" (2006), שמן על בד, 96 x 144 אינץ '.

מוזיאון המטרופוליטן לאמנות, ניו יורק

"לחתוך קרקע" (2006), שמן על בד, 96 x 144 אינץ '.
"נילס" (2001), שמן על בד, 75 X 85 אינץ'.

אוסף פיליפס, וושינגטון די.סי.

"נילס" (2001), שמן על בד, 75 X 85 אינץ'.
"קיר של גוון אדום בהיר" (2010), 84 x 120 1/2 אינץ '.

המוזיאון לאמנויות יפות, יוסטון

"קיר של גוון אדום בהיר" (2010), 84 x 120 1/2 אינץ '.
"אמנות היא טרנספורמטיבית. זה לא 2+2=4. זה עובד כמו הים. הוא משנה את הגיאוגרפיה באמצעות תנועתו המתמדת והבלתי פוסקת, בדיוק כמו שצמחים ומים מעצבים את העולם." – שון סקאלי

גלריית תמונות

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משאבים נוספים

בראיון ל"ניו יורק טיימס", סקאלי משתף אותו במה שמעורר בו השראה לאסוף אמנות ומשתף את מחשבותיו על כמה משיאי האוסף שלו.

שון סקאלי על איסוף

בראיון ל"ניו יורק טיימס", סקאלי משתף אותו במה שמעורר בו השראה לאסוף אמנות ומשתף את מחשבותיו על כמה משיאי האוסף שלו.
בסרט זה שבו סקאלי דן בעבודתו של אנרי מאטיס, בהתעניינות המשותפת שלהם בתרבות המורוקנית, ובדרכים שבהן עניין זה השפיע על ציורם.

מסע האמנים: שון סקאלי על אנרי מאטיס

בסרט זה שבו סקאלי דן בעבודתו של אנרי מאטיס, בהתעניינות המשותפת שלהם בתרבות המורוקנית, ובדרכים שבהן עניין זה השפיע על ציורם.
חקור את התערוכה הנוכחית של מוזיאון פילדלפיה לאמנות של עבודתו של סקאלי, "שון סקאלי: צורת הרעיונות", המוצגת עד 31 ביולי 2022.

תערוכת מוזיאון פילדלפיה לאמנות

חקור את התערוכה הנוכחית של מוזיאון פילדלפיה לאמנות של עבודתו של סקאלי, "שון סקאלי: צורת הרעיונות", המוצגת עד 31 ביולי 2022.
ראו את הפיצ'ר האחרון של CBS על עבודתו של סקאלי ואת תערוכת האמן במוזיאון פילדלפיה לאמנות, "האמנות הגיאומטרית של שון סקאלי".

CBS יום ראשון בבוקר

ראו את הפיצ'ר האחרון של CBS על עבודתו של סקאלי ואת תערוכת האמן במוזיאון פילדלפיה לאמנות, "האמנות הגיאומטרית של שון סקאלי".

לברר

בקשה - סינגל אמנותי

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