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ショーン・スカリー (b. 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.”
グレー レッド201285 x 75 in.(215.9 x 190.5 cm)油彩、アルミニウム
出所
ティモシー・テイラー（イギリス・ロンドン
個人蔵
プライベート・コレクション(イギリス、ロンドン)
フィリップス（イギリス・ロンドン）、2016年10月5日。"20世紀＆現代美術イブニングセール" Lot 8
個人蔵、上記セールより入手
フィリップス・ロンドン2018年3月8日（木）20世紀＆コンテンポラリーアート イブニングセール Lot 00035
プライベートコレクション、上記セールより入手
展示会
英国王立芸術院（ロンドン）「The 244th Royal Academy of Arts Summer Exhibition」（2012年6月4日～8月12日）。に収録されました。...もっとその。。。展覧会カタログ、No.847
ヴェリー・ギャラリー（英国・ウィンザー）「ショーン・スカリー」2012年10月3日～2013年2月28日
文学
ツヴァイト、アーミン、「ショーン・スカリー。絵画と紙作品」（ミュンヘン、ドイツ：ベルント・クリューサーギャラリー、1993年）、7ページ
キャリア、デビッド、「ショーン・スカリー」（イギリス・ロンドン：テムズ＆ハドソン、2006年）、98ページ
オサリバン、マーク、「ショーン・スカリー。Figure/Abstract," (Ostfildern, Germany: Hatje Cantz Verlag, 2014), page 7
...少ない。。。
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お 問い合わせ

「通りの出入り口や建物の間の窓、かつて生命に溢れていた建造物の痕跡に見られるこれらの関係性を、私は作品に取り込んでいます。私はこれらの色と形を使い、おそらく何かを思い出させるような方法でそれらを組み合わせますが、あなたはそれを確信しているわけではありません。

歴史

アイルランド系アメリカ人のショーン・スカリーのシグネチャーであるブロックとストライプの参照元は多岐にわたります。幾何学が普遍的な理解のための手段を提供できるというマレーヴィチの中心的な前提から、ロスコの色彩への熱烈なアプローチと劇的な崇高さの表現まで、スカリーは自然界の素晴らしさを色、光、構図の単純な様式に凝縮する方法を学びました。1945年にダブリンで生まれ、ロンドンで育ったスカリーは、具象画を十分に学んだ後、1969年にモロッコを訪れ、彼の宿敵であるアンリ・マティスの精神を受け継ぐことを決意します。まばゆいばかりのモザイクや豊かな染色の布に魅了された彼は、格子や色彩の縞模様を描き始めたのです。その後、マヤ遺跡やストーンヘンジの石板に反射する強烈な光の戯れが、光や空間、幾何学的な動きの感覚をもたらし、スカリーの絵画にさらなるインスピレーションを与えている。スカリーの絵画を通して旅の影響をたどることができるのは、実体験の試金石としての抽象芸術の価値を再確認することになるのです。


豊かで深い色合いと、幾重にも重なったニュアンスのある表面で描かれたグレイレッドは、詩的であると同時に、筋肉質な形式主義に満ちています。スカリーは、これらの要素的な形態を適切に「レンガ」と呼び、建築家の形式的な計算を示唆しています。街路の出入り口や建物と建物の間の窓、かつて生命に満ち溢れていた建造物の痕跡に見られるこれらの関係性を、私は作品に取り込んでいます。私はこれらの色や形を使い、何かを思い出させるような方法でそれらを組み合わせますが、あなたはそれを確信しているわけではありません」（David Carrier,Sean Scully, 2004, pg.98）と説明しています。彼のアプローチは有機的で、定型的なものではありません。直感的な画家の選択は、対照的な色相や色がサブリミナルなエネルギーで振動するように、一つの色を別の色に重ねることです。ディベンコーンが思い浮かべるのは、放射状の光を追求することである。しかし、ここでは、テラコッタレッド、グレー、トープ、ブラックのグレイレッドの放射状の帯が、深く、くすんだエネルギーと共鳴し、あなたが想像するよりもはるかに影響力のある情熱を呼び起こしている。親友のボノは、「ショーンは、キックボクサー、左官、建築家のようにキャンバスに取り組む。絵の質は、人生が生きていることを叫んでいる。"

"私の芸術は不純物を基にしています。異なる洗練された文化からのものを混ぜて、生のものを得て、それを再び動かすのです。"- ショーン・スカリー

マーケットインサイト

  • スカリー_レコード
  • スカリーのオークション記録は、2022年5月にサザビーズ・ニューヨークで『Song, 1985』（左）が200万ドル超で落札された。
  • スカリーのオークションでの上位10点のうち、9点は2000年以降に描かれたものです。さらに、このトップ10のうち7件は2010年以降の作品であり、より現代的な作品への欲求が非常に強いことがわかる。
  • 2012年は特に重要な年であり、ベルン美術館、アルハンブラ宮殿、フィラデルフィア美術館など、この年だけで9つの美術館での個展が開催されました。
  • 2012年は、スカリーがロイヤル・アカデミー・オブ・アートの会員になった年でもあります。

展示会の歴史

  • グレイ・レッドの完成後まもなく、この絵は著名な展覧会に出品されるようになった。 
  • グレーレッドは、第244回ロイヤル・アカデミー・オブ・アーツ夏季展のカタログに847番で掲載されました。
  • Grey Redは 、2012年にイギリス・ウィンザーのイートンカレッジのVerey Galleryで開催された「Sean Scully」展で展示されました（右）。

美術館所蔵の絵画

"Landline Tappan" (2015)、アルミニウムに油彩、118 x 74 3/4 in.

ネルソン・アトキンス美術館（ミズーリ州カンザスシティ

"Landline Tappan" (2015)、アルミニウムに油彩、118 x 74 3/4 in.
"Doric Persephone" (2012) リネンに油彩、28 x 38 in.

ロイヤル・アカデミー・オブ・アーツ（ロンドン

"Doric Persephone" (2012) リネンに油彩、28 x 38 in.
"Landline Moor" (2015) アルミニウムに油彩、118 1/8 x 74 7/8 in.

デ・ヤング美術館（サンフランシスコ

"Landline Moor" (2015) アルミニウムに油彩、118 1/8 x 74 7/8 in.
"Cut Ground" (2006)、油彩・キャンバス、96 x 144 in.

メトロポリタン美術館(ニューヨーク)

"Cut Ground" (2006)、油彩・キャンバス、96 x 144 in.
"Niels" (2001年) 油彩・キャンバス 75 x 85 in.

フィリップス・コレクション（ワシントンD.C.）。

"Niels" (2001年) 油彩・キャンバス 75 x 85 in.
"Wall of Light Red Shade" (2010), 84 x 120 1/2 in.

ヒューストン美術館

"Wall of Light Red Shade" (2010), 84 x 120 1/2 in.
"アートは変幻自在。2+2=4ではないのです。それは海のように機能します。植物や水が世界を形作るのと同じように、絶え間ない絶え間ない動きによって地理を変えるのです。"- ショーン・スカリー

イメージギャラリー

  • Scully41394_gallery1
  • スカリー41394_ギャラリー2
  • スカリー41394_ギャラリー3
  • スカリー41394_ギャラリー4
  • Scully41394_gallery5
  • Scully41394_gallery6
  • スカリー41394_ギャラリー7
  • Scully41394_gallery8
  • スカリー41394_ギャラリー9
  • Scully41394_gallery10
  • Scully41394_gallery1
  • スカリー41394_ギャラリー2
  • スカリー41394_ギャラリー3
  • スカリー41394_ギャラリー4
  • Scully41394_gallery5
  • Scully41394_gallery6
  • スカリー41394_ギャラリー7
  • Scully41394_gallery8
  • スカリー41394_ギャラリー9
  • Scully41394_gallery10

追加リソース

ニューヨーク・タイムズ紙のインタビューでは、スカリーが美術品収集のインスピレーションを得た理由や、コレクションのハイライトについて考えを述べています。

ショーン・スカリー、コレクションを語る

ニューヨーク・タイムズ紙のインタビューでは、スカリーが美術品収集のインスピレーションを得た理由や、コレクションのハイライトについて考えを述べています。
この映画では、スカリーがアンリ・マティスの作品、モロッコ文化への共通の関心、そしてその関心が彼らの絵画に与えた影響について語ります。

アーティストの旅ショーン・スカリー、アンリ・マティスを語る

この映画では、スカリーがアンリ・マティスの作品、モロッコ文化への共通の関心、そしてその関心が彼らの絵画に与えた影響について語ります。
フィラデルフィア美術館で開催中のスカリー作品展「ショーン・スカリー」をご覧ください。2022年7月31日まで開催されている「The Shape of Ideas」をご紹介します。

フィラデルフィア美術館展

フィラデルフィア美術館で開催中のスカリー作品展「ショーン・スカリー」をご覧ください。2022年7月31日まで開催されている「The Shape of Ideas」をご紹介します。
スカリーの作品とフィラデルフィア美術館での展覧会 "The geometric art of Sean Scully "について、CBSが最近特集を組んでいますので、ご覧ください。

CBSサンデーモーニング

スカリーの作品とフィラデルフィア美術館での展覧会 "The geometric art of Sean Scully "について、CBSが最近特集を組んでいますので、ご覧ください。

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