The Concise Oxford Dictionary of Art and Artists (436 page)
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Scott , William
(1913–89).
British painter. In 1937–9 he lived in France, and he said: ‘I picked up from the tradition of painting in France that I felt most kinship with—the still-life tradition of
Chardin
and
Braque
, leading to a certain kind of abstraction which comes directly from that tradition.’ His work continued to be mainly based on still life with increasing abstraction, and for a time in the 1950s he painted pure abstracts before returning to his earlier preoccupations. Although forms such as circles and squares feature in his work, they are not geometrically exact but bounded by sensitive, painterly lines. In the later 1960s and 1970s his paintings became more austere. Although his work was restricted in range, Scott was regarded as one of the leading British painters of his generation.
British painter. In 1937–9 he lived in France, and he said: ‘I picked up from the tradition of painting in France that I felt most kinship with—the still-life tradition of
Chardin
and
Braque
, leading to a certain kind of abstraction which comes directly from that tradition.’ His work continued to be mainly based on still life with increasing abstraction, and for a time in the 1950s he painted pure abstracts before returning to his earlier preoccupations. Although forms such as circles and squares feature in his work, they are not geometrically exact but bounded by sensitive, painterly lines. In the later 1960s and 1970s his paintings became more austere. Although his work was restricted in range, Scott was regarded as one of the leading British painters of his generation.
Scott , William Bell
(1811–90).
Scottish painter and poet. He was head of the Government School of Design in Newcastle upon Tyne, 1843–64, and his best-known works are near Newcastle, at Wellington Hall, Northumberland: a series (begun 1855) representing Northumbrian history and including the well-known
Iron and Coal
, one of the earliest representations in art of heavy industry. Bell was a close friend of
Rossetti
, and his work has affinities with Pre-Raphaelitism in its Romanticism and love of historical detail. His literary output included much poetry and several books on art, among them a memoir (1850) of his brother
David Scott
(1806–49), a
history painter
and book illustrator. Their father,
Robert Scott
(1777–1841), was an engraver.
Scottish painter and poet. He was head of the Government School of Design in Newcastle upon Tyne, 1843–64, and his best-known works are near Newcastle, at Wellington Hall, Northumberland: a series (begun 1855) representing Northumbrian history and including the well-known
Iron and Coal
, one of the earliest representations in art of heavy industry. Bell was a close friend of
Rossetti
, and his work has affinities with Pre-Raphaelitism in its Romanticism and love of historical detail. His literary output included much poetry and several books on art, among them a memoir (1850) of his brother
David Scott
(1806–49), a
history painter
and book illustrator. Their father,
Robert Scott
(1777–1841), was an engraver.
Scottish Colourists
.
.
A term applied to four Scottish painters who in the period
c.
1900–14 each spent some time in France and were strongly influenced by the rich colours and bold handling of recent French painting, notably
Fauvism
: they are F. C. B. Cadell (1883–1937), J. D.
Fergusson
, Leslie Hunter (1879–1931), and S. J. People (1869–1933). The term was popularized by a book by T. J. Honeyman dealing with Cadell , Hunter , and People (
Three Scottish Colourists
, 1950), but it is now usual to add Ferguson to their number, even though he stands apart from the rest in that he returned to live in France after the First World War, whereas the other three remained in Scotland. All four painters knew each other, and they once exhibited together as ‘Les Peintres de L'Écosse Moderne’, at the Galerie Barbazanges, Paris, in 1924, but they did not function as a group. They have been described as the first ‘modern’ Scottish artists; certainly they were the main channel through which
Post-Impressionism
reached their country. None of them was represented in Roger
Fry's
Post-Impressionist exhibitions of 1910 and 1912, but this reflects insular English attitudes towards Scottish art rather than the quality of their work.
c.
1900–14 each spent some time in France and were strongly influenced by the rich colours and bold handling of recent French painting, notably
Fauvism
: they are F. C. B. Cadell (1883–1937), J. D.
Fergusson
, Leslie Hunter (1879–1931), and S. J. People (1869–1933). The term was popularized by a book by T. J. Honeyman dealing with Cadell , Hunter , and People (
Three Scottish Colourists
, 1950), but it is now usual to add Ferguson to their number, even though he stands apart from the rest in that he returned to live in France after the First World War, whereas the other three remained in Scotland. All four painters knew each other, and they once exhibited together as ‘Les Peintres de L'Écosse Moderne’, at the Galerie Barbazanges, Paris, in 1924, but they did not function as a group. They have been described as the first ‘modern’ Scottish artists; certainly they were the main channel through which
Post-Impressionism
reached their country. None of them was represented in Roger
Fry's
Post-Impressionist exhibitions of 1910 and 1912, but this reflects insular English attitudes towards Scottish art rather than the quality of their work.
Scrotes , Guillim
(William Stretes )
(William Stretes )
(active 1537–53).
Netherlandish portrait painter. He is first heard of in 1537, when he became court painter to Mary of Hungary, Regent of the Netherlands, and by 1546 he was King's Painter to Henry VIII in England, earning a very high salary. His appointment continued under Edward VI. Only a handful of paintings, all done in England, can be confidently attributed to him, among them a full-length portrait of Edward VI in the Royal Collection (several other versions exist). They show Scrotes to have been a highly accomplished practitioner in the international
Mannerist
court style and he was an important figure in introducing the full-length portrait to England. He is last heard of in 1553 and may have left England after Edward's death in that year.
Netherlandish portrait painter. He is first heard of in 1537, when he became court painter to Mary of Hungary, Regent of the Netherlands, and by 1546 he was King's Painter to Henry VIII in England, earning a very high salary. His appointment continued under Edward VI. Only a handful of paintings, all done in England, can be confidently attributed to him, among them a full-length portrait of Edward VI in the Royal Collection (several other versions exist). They show Scrotes to have been a highly accomplished practitioner in the international
Mannerist
court style and he was an important figure in introducing the full-length portrait to England. He is last heard of in 1553 and may have left England after Edward's death in that year.
scumbling
.
.
Painting technique in which a layer of opaque colour is brushed lightly over a previous layer of another colour in such a way that the lower layer is only partly obliterated and shows through irregularly. With
glazing
, scumbling allows a range of textural and colouristic effects that ensured
oil painting's
dominance over other media. Similar effects can now be obtained with
acrylic
.
glazing
, scumbling allows a range of textural and colouristic effects that ensured
oil painting's
dominance over other media. Similar effects can now be obtained with
acrylic
.
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