Beschreibung:

Patrick Scott HRHA (1921-2014)
Signature: signed, titled, numbered [6.86] and with Taylor Galleries label on reverse
Medium: tempera and gold leaf; (unframed)
Size: 48 x 48in. (121.92 x 121.92cm) Condition: Excellent condition. Provenance: Taylor Galleries, Dublin; Pyms Gallery, London; Private collection Exhibited: 'Patrick Scott - Recent Work', Taylor Galleries, Dublin, June 1986 Literature: Walker, Dorothy, Patrick Scott - Recent Work', Irish Arts Review, Volume 3. No. 2, Summer, 1986, pp.41-44 (illustrated) In the winter of 1984/85 Patrick Scott travelled to China for the first time. This trip had a profound effect on the artist's work and the resulting paintings of Chinese landscapes were exhibited at the Taylor Galleries in a show titled 'Patrick Scot...Read more In the winter of 1984/85 Patrick Scott travelled to China for the first time. This trip had a profound effect on the artist's work and the resulting paintings of Chinese landscapes were exhibited at the Taylor Galleries in a show titled 'Patrick Scott - Recent Work' in June 1986. The present work was among those shown. In her extensive review of the exhibition for the Irish Arts Review (Summer, 1986) Dorothy Walker wrote: 'These paintings are a perfect example of his genius in extracting the poetic quick from an extremely complex visual reality - the Chinese mountains and their well-known exuberant forms, so familiar from traditional Chinese painting - and expressing this complexity in his own absolutely personal schematic terms. Thus the mountains are indicated in a purely linear form, with Scott's usual thinned-white acrylic, but this linear treatment fully suggests the encompassing volumes of these unusual volcanic rock formations. The rocks are hollow and, on the inside, are like great lofty cathedrals. It is Scott's achievement to be able to convey this architectural sense of the mountains by Irish traditional linear means, while his gold-leaf 'sun', delimiting the scale of the landscape and of the picture, gives a Japanese gloss to the unmistakably Chinese scene, like a Chinese landscape as seen by a Japanese painter.' Scott was born in Kilbrittain in Co. Cork and trained as an architect working for 15 years from 1945 with Michael Scott's practice which would later become Scott, Tallon, Walker. He also worked as a leading graphic designer for Signa Design Consultancy, set up by fellow White Stag member, Louis le Brocquy and Michael Scott while at the same time developing his own visual language. After representing Ireland at the XXX Venice Biennale and winning a National Prize at the Guggenheim International Award in 1960, Scott dedicated himself fulltime to his art. From the 1950s to 1970s his work was among Irish art shown on the international stage in Europe and the United States, among them The Irish Imagination exhibitions 1959-71. The breadth of his practice is impressive; from painting, sculpture and print, to textile design, tapestry, furniture and mosaic, each communicating through a precise and economic visual language a distinctly modern vision. Much of his work in the public domain formed part of the fabric of Irish life in discreet yet impactful ways. The mosaics at Busáras in Dublin were designed by Scott while the distinctive black and orange livery for the CIE train interiors were also his work. Scott's first retrospective - a touring exhibition - took place at the Douglas Hyde Gallery in 1981 while a major monographic exhibition took place at Dublin City Gallery the Hugh Lane in 2002. He was elected a Saoi of Aosdána by President Mary McAleese in 2007. Scott died aged 93 a day before a major retrospective on his life - Image Space Light - opened at the Irish Museum of Modern Art (IMMA) and VISUAL Centre for Contemporary Art Carlow. An example from the Chinese landscape series from 1986 can be found in the collection of IMMA (1485 FD). Adelle Hughes, November 2023