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30.6.1945 Born in Dublin (IR) Lives and works in New York, Barcelona and Munich. 1949 - 1959 Family moves to London. Grows up in a working-class area of south London and attends local convent schools. Paintings in Catholic churches have an important influence on him. The nine-year-old schoolboy wants to become an artist. Becomes interested in American rhythm and blues music and starts a music club of his own. Retains his interest in popular music all his life. 1960 - 1962 Apprenticed at a commercial printing shop in London. Joins a graphic design studio. 1962 - 1965 Attends evening classes at the Central School of Art, London. Is interested in figurative painting. 1964 Sees Vincent van Goghs painting Chair at Tate Gallery. Its feeling of honesty has a profound effect. 1965 Decides to dedicate himself entirely to art studies. Studies at the Croydon College of Art, London, until 1968. Is interested in van Gogh, Emil Nolde, Karl Schmidt-Rottluff and Henri Matisse. Discovers Abstract Expressionism. 1967 Comes across a copy of Mark Rothkos exhibition catalogue of 1961. Abandons figurative painting altogether. Influenced also by Bridget Rileys Op Art. 1968 - 1972 Attends Newcastle University, Newcastle-upon-Tyne, England. After graduation remains as teaching assistant. At the same time teaches one day a week at the Sunderland College of Art. His technically flawless paintings consist of a complicated grid system of intersecting bands and lines, which form a rich optical field. The illusion of depth and space is activated by colour contrasts. The influence of the Op Art is clearly visible. Visits Morocco in 1969. The stripes and colours of local textiles and carpets and the southern light make as deep an impression as they did on Eugene Delacroix, Matisse and Paul Klee. 1970 Awarded the Stuyvesant Foundation Prize. 1972 - 1973 Awarded the John Knox Fellowship. Makes his first visit to the United States. Attends Harvard University, Cambridge, Massachusetts. Experiments with new techniques. Starts using tape and spray paints in paintings composed of grids of interlacing vertical and horizontal or diagonal bands and stripes. All expressiveness is omitted. 1973 After returning to England has his first solo exhibition at the Rowan Gallery, London. Sells out the entire show. Inset #2 means a temporary break in his rigid grid system and prefigures his device of the inset canvas, which becomes his distinctive feature from the beginning of the 1980s. 1973 - 1975 Teaches at the Chelsea College of Art and Design and Goldsmiths College of Art and Design, London. 1975 Creates Change, a series of 50 acrylic works on paper. The pivotal series reflects the crises of his personal life. At the same time it prefigures the large, spatially hermetic dark canvases of the following years. Awarded the Harkness Fellowship for two years. Moves to New York. Lives with the artist Catherine Lee. American art, especially Minimalism, and his friendship with Robert Ryman encourage him to simplify his expression. 1977 Has his first solo exhibition in New York at the Duffy-Gibbs Gallery. 1978 Marries painter Catherine Lee. 1978 - 1982 Teaches part-time at Princeton University, New Jersey, USA. Develops important friendships and contacts in the academic and art world. At this time his paintings are grey or dark, almost monochrome Black paintings. The composition is pared down to the extreme. Sets of squares are replaced by thin horizontal or vertical lines. 1979 Decides together with his wife to choose from his works every year one especially important or typical work to be named after her. This marks the beginning of his private collection, the Catherine Paintings series. 1980 Travels to Mexico. Inspired by the trip, he begins painting from nature, transcribing his experience of colour and light directly on the paper with watercolours. Before 1980 used watercolour only occasionally. 1981 Has first retrospective at the Ikon Gallery, Birmingham, England. The exhibition travels within the United Kingdom under the auspices of the Arts Council of Great Britain. Starts to withdraw from Minimalist aesthetics. Colour and space return. Stops taping his stripes and starts drawing them freehand. Brushstrokes are clearly visible. A soft painterly outline becomes characteristic of his works. Gets his richness of colour by overpainting in many different layers. The large polyptych Backs and Fronts, his manifesto painting is completed. 1981 - 1984 Professor at the Parsons School of Art, New York, USA. 1982 Spends part of the summer working at the artists colony founded by Edward Albee at Montauk, Long Island. Produces small works on panel. Reaches maturity in Heart of Darkness. Combines rigid geometry with expressive texture and colour. 1982 - 1983 Uses his inset technique with more freedom. Combines and recombines canvases to make polyptychs. 1983 Becomes American citizen. Paul, his nineteen-year-old son from a previous marriage, dies in a car accident in London. Receives the National Endowment for the Arts Fellowship. Receives the Guggenheim Fellowship. Begins his first collaboration with a printer. This prefigures his long-term commitment to printmaking using various graphic techniques. 1984 International breakthrough. Dedicates his painting Paul to his deceased son. Receives the National Endowment for the Arts Fellowship Selected for the exhibition entitled An International Survey of Recent Painting and Sculpture. 1985 Has his first solo exhibition in an American museum the Museum of Art, Carnegie Institute, Pittsburgh, Pennsylvania. The exhibition travels to the Museum of Fine Arts, Boston, Massachusetts. Major museums acquire large-scale Modernist paintings by Scully at a time when Postmodernism is the dominant trend. The paintings become more physical, to the point where they can stand freely on the floor without any need for support, although they are conceived to hang on the wall. 1987 Changes to a less complex, flatter and smaller scale of working. Uses the inset for the first time by embedding a small canvas into a large one. 1987 - 1990 Makes a number of visits to Mexico. Exposure to new sources of visual stimuli can be seen in new watercolours and works on paper. 1988 Introduces an element of steel for the first time. 1989 Has his first solo exhibition in a European museum at the Whitechapel Art Gallery, London. The exhibition travels to Palacio Velázquez, Madrid and to Städtische Galerie im Lenbachhaus, Munich. 1990 Maurice Poiriers monograph is published by Hudson Hills Press, New York. Photographs by Scully published for the first time, in black and white as illustrations and in colour in the paintings section. 1991 Starts to incorporate his insets into large steel frames. Returns to the checkerboard motif, which he used quite early in his oeuvre. 1992 In December revisits Morocco to make a film for the BBC on Matisse, who visited Morocco in 1912-13. Lectures at Harvard. 1993 Has his first exhibition of the Catherine Paintings in the Museum of Modern Art of Fort Worth, Texas. 1994 Makes first paintings at his new studio in Barcelona. 1994 Participates in the Joseph Beuys Lectures 1995 on the state of contemporary art in Britain, Europe and the United States, Ruskin School of Drawing and Fine Art, Oxford University, England. Starts making three-dimensional Floating Paintings. These are rectangular vertical sheet metal boxes attached to the wall along one of the narrowest sides. The other sides are covered by painted vertical stripes. 1996 Visits Morocco. The portfolio Atlas Walls of 1998 includes several photos from this trip. 1997 Photographs exhibited for the first time, Sala de Exposiciones Rekalde, Bilbao, Spain. 1998 Participates in a colloquium held in conjunction with the exhibition Richard Pousette-Dart (1916-1992), Metropolitan Museum of Art, New York. 1999 Visits Santo Domingo. The portfolio Santo Domingo for Nené consists of photos taken during this trip. Paints Chelsea Wall, the first painting in the new studio in Chelsea, New York City. 2000 Becomes an Honorary Fellow of the London Institute of Arts and Letters. 2001 Becomes a member of Aosdána, an Irish affiliation of artists engaged in literature, music and the visual arts. 2002 Starts working as a part-time professor of painting at Akademie der Bildenden Künste, Munich, Germany. 2003 Receives the degree of an Honorary Doctor of Fine Arts from the Massachusetts College of Art, the United States, and the National University of Ireland. 2006 Selected Works John Berggruen Gallery, San Francisco, CA 2005 Masterprints aus Privatsammlungen Galerie Erhard Witzel, Wiesbaden Summer Group Show Kerlin Gallery, Dublin Minimalism and After IV DaimlerChrysler Contemporary, Berlin Summer Show Pyms Gallery, London (England) Summer Group Show McKee Gallery, New York, NY Sean Scully Ingleby Gallery, Edinburgh (Scotland) Sean Scully - Mirrors 1982 - 2004 Centre de la Gravure et de lImage imprimée, La Louvière Sean Scully - New Work Galerie Lelong, New York, NY Eye of the Storm: The IMMA Collection Irish Museum of Modern Art - IMMA, Dublin Nueva tecnología-nueva iconografía-nueva fotografía Museo de Arte Abstracto Español, Cuenca Sean Scully - Paintings & Works on Paper Abbot Hall Art Gallery, Kendal, Cumbria (England) After The Thaw - Recent Irish Art from the AIB Collection Crawford Municipal Art Gallery, Cork Von Paul Gauguin bis Imi Knoebel. Werke aus der Hilti art foundation Kunstmuseum Liechtenstein, Vaduz 2004 Sean Scully / Jon Groom Galerie 422, Gmunden Sean Scully - Body of Light National Gallery of Australia, Canberra, ACT the Gallery selects... Alexander and Bonin, New York, NY Bloomsday 16. Juni 1904 - 16. Juni 2004 Galerie Bernd Klüser, Munich Bearings: Landscapes from the IMMA Collection Irish Museum of Modern Art - IMMA, Dublin Sean Scully Kerlin Gallery, Dublin Picasso to Thiebaud Cantor Arts Center at Stanford University, Stanford, CA Sean Scully Galerie Bernd Klüser, Munich Under $2,000 Albers < Zaugg Brooke Alexander Editions, New York, NY 2003 Sean Scully - Prints and Photographs Alexander and Bonin, New York, NY Sean Scully - Photographs L.A. Louver Gallery, Venice, CA The Eighties - Part II: USA Galerie Bernd Klüser, Munich Sean Scully - The Color of Time Galerie Jamileh Weber, Zurich Nachbarschaften - Arbeiten auf Papier Galerie Dittmar, Berlin Streifzüge Galerie Lelong, Zurich Museum Store Collects Arizona State University Art Museum, Tempe, AZ Avantgarde und Tradition Lentos Kunstmuseum Linz, Linz Graphische Suiten der Edition Bernd Klüser Galerie Bernd Klüser, Munich Human Stories - Photographs and paintings from the Essl Collection Ludwig Museum - Museum of Contemporary Art - Budapest, Budapest 2002 Extranjeros - Los otros artistas españoles Museo de Arte Contemporáneo Esteban Vicente, Segovia No Object, No Subject, No Matter... Irish Museum of Modern Art - IMMA, Dublin Eight New Paintings Kerlin Gallery, Dublin Choose your partner Nusser & Baumgart Contemporary, Munich Augenblick - Foto/Kunst Sammlung Essl - Kunsthaus, Klosterneuburg The Rowan Collection: Contemporary British and Irish Art Irish Museum of Modern Art - IMMA, Dublin Selected Works - A Collection Galerie Jamileh Weber, Zurich Profile of a Collection: The Gordon Lambert Trust Collection at IMMA Irish Museum of Modern Art - IMMA, Dublin 2001 Sean Scully Galerie Bernd Klüser, Munich Sean Scully - Die neunziger Jahre HDK - Haus der Kunst - München, Munich Group Show McKee Gallery, New York, NY Sean Scully Galerie Dittmar, Berlin Group Show McKee Gallery, New York, NY 2000 Import Irish Museum of Modern Art - IMMA, Dublin Une Ville-Une Collection Centre de la Gravure et de lImage imprimée, La Louvière Sean Scully on Paper The Metropolitan Museum of Art, New York, NY Sean Scully - Works on Paper, 1975-1996 Albright-Knox Art Gallery, Buffalo, NY 1999 1999 Drawings Alexander and Bonin, New York, NY Sean Scully Galerie Bernd Klüser, Munich Pars Pro Toto Galerie Lelong, Zurich 25 Jahre - 25th anniversary Galerie Jamileh Weber, Zurich Sean Scully - New Paintings SLG - South London Gallery, London (England) 1998 Cleveland Collects Contemporary Art The Cleveland Museum of Art, Cleveland, OH Sean Scully - Works on Paper 1975-1996 Denver Art Museum, Denver, CO Sean Scully Bawag Foundation, Vienna Sean Scully - Bilder und Arbeiten auf Papier Galerie Jamileh Weber, Zurich Representing galleries 20 Austria Galerie 422, Gmunden France Galerie Lelong, Paris Germany Galerie Dittmar, Berlin Baukunst Galerie, Cologne Galerie Schmela, Duesseldorf Galerie Bernd Klüser, Munich Ireland (Republic) Kerlin Gallery, Dublin Italy Gian Ferrari Arte Contemporanea, Milano Spain Galería Carles Taché, Barcelona Galería DV, San Sebastián Galería Antonia Puyó, Zaragoza Switzerland Galerie Iris Wazzau, Davos Galerie Jamileh Weber, Zurich United Kingdom Ingleby Gallery, Edinburgh (Scotland) Adam Gallery, London (England) Alan Cristea Gallery, London (England) Timothy Taylor Gallery, London (England) Caroline Wiseman, London (England) USA Galerie Lelong, New York, NY John Berggruen Gallery, San Francisco, CA Public collections 10 Austria Sammlung Essl - Kunsthaus, Klosterneuburg Germany Städtische Galerie im Lenbachhaus Kunstbau, Munich Ireland (Republic) Dublin City Gallery The Hugh Lane, Dublin Irish Museum of Modern Art - IMMA, Dublin Italy Galleria d´Arte Moderna, Bologna United Kingdom Birmingham Museums & Art Gallery, Birmingham (England) USA MIT List Visual Arts Center, Cambridge, MA Des Moines Art Center, Des Moines, IA The Modern Art Museum of Fort Worth, Fort Worth, TX The Corcoran Gallery of Art, Washington, DC