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Lot Essay
Painted in 1962-3, Brown and Black is an example of the powerful but subtle work that Scott was producing during these years. In the Tate Gallery catalogue of 1972, Alan Bowness makes a definition between Scott's paintings of 1958-62 and 1963-5. He refers to the earlier period as Evocative Abstraction and the subsequent period as Decorative Abstraction. Of the latter he writes that 'Scott's painting purges itself of all inessentials and gets back to fundamentals' (see N. Lynton, William Scott, London, 2004, p. 247).
Brown and Black lies on the cusp of this change. A painting of 1961 called Open Squares (private collection) presents both similarities and distinctions with the present lot. Scott uses similar colour tones and shapes in both paintings, but Open Squares defines the square shapes in the vertical centre of the canvas with black thin outlines. The present lot, however, employs a more subtle representation of the forms, which appear to emerge from the depths of the paint surface.
Speaking in 1963 about Scott's work, Ronald Alley comments 'He is just as interested as ever in the division of spaces and in creating a tension between a few simple forms; his work is still that of a tonal painter, working within a restricted range of colour ... Perhaps most characteristic, however, is Scott's blend of austerity and sensuality: the one is what saves his work from lushness, the other gives it density and richness and, at times, a primitive, instinctive immediacy rare in British art' (R. Alley, William Scott, London, 1963, p. 12).
Sarah Whitfield is currently preparing the Catalogue Raisonné of works in oil by William Scott. The William Scott Foundation would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue or in future projected catalogues. Please write to Sarah Whitfield c/o Christie's, 20th Century British Art Department, 8 King Street, London, SW1Y 6QT.
Brown and Black lies on the cusp of this change. A painting of 1961 called Open Squares (private collection) presents both similarities and distinctions with the present lot. Scott uses similar colour tones and shapes in both paintings, but Open Squares defines the square shapes in the vertical centre of the canvas with black thin outlines. The present lot, however, employs a more subtle representation of the forms, which appear to emerge from the depths of the paint surface.
Speaking in 1963 about Scott's work, Ronald Alley comments 'He is just as interested as ever in the division of spaces and in creating a tension between a few simple forms; his work is still that of a tonal painter, working within a restricted range of colour ... Perhaps most characteristic, however, is Scott's blend of austerity and sensuality: the one is what saves his work from lushness, the other gives it density and richness and, at times, a primitive, instinctive immediacy rare in British art' (R. Alley, William Scott, London, 1963, p. 12).
Sarah Whitfield is currently preparing the Catalogue Raisonné of works in oil by William Scott. The William Scott Foundation would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue or in future projected catalogues. Please write to Sarah Whitfield c/o Christie's, 20th Century British Art Department, 8 King Street, London, SW1Y 6QT.