523:(1974, Auckland Art Gallery Toi o Tāmaki). These paintings were described by critic and art historian Edward Hanfling in 2005 as "the most significant paintings produced in this country , outside of Scott's recent white Model Series paintings." The particular colour range of the Sprayed Stripes captures both the intense light of Auckland and the pastel hues typically used by suburban home-owners to paint their weatherboard houses. In using spray cans, Scott was also trying to evoke the sensibility of the home handyman, the
490:. Also from the Nelson period is a series of paintings with flat, cartoonish figurative elements as well as abstract shapes and textures (such as an effect resembling the stucco cladding of his rented flat). The overall significance of the paintings of this period lies in the way the artist translates the feelings and imagery of his immediate environment into an abstract idiom directly comparable with developments in
565:(July 1979, Museum of New Zealand Te Papa Tongarewa), have black bands alternating with high-keyed colours, whereby, as art historian Elva Bett observed, "a vast three-dimensional depth is created as the bands of strident colour whip and pull beyond the canvas." Others are pared back to white against raw canvas, or black and raw canvas. An example of the latter is
466:(1968, Auckland Art Gallery Toi o Tāmaki) is based on a photograph of the publisher – and protector of endangered Kauri forests – A.H. Reed with his daughter and grandchildren; Scott has them posing stolidly in front of an Auckland Regional Council sign and a stand of Kauri trees. The radical and iconic nature of this painting prompted the poet and art-writer
404:
Zealand light and its clearly delineated forms – was paramount." However, McAloon also acknowledges the international influences Scott was fusing with New
Zealand art, writing: "Not that all the references are local: elsewhere in the series Scott drew on images of contemporary American abstraction, and even here the bold colours of the leaping frock suggest a
549:
life. The
Lattice paintings are typically based on a flexible, constantly varied system of usually diagonal, interlaced bands of colour, within a square canvas. "The basic over and under pattern which holds the forms meshed together on the picture surface is common to all the paintings of the Lattices." Early examples from 1976 to 1977, such as
357:) and newspapers. They feature landscapes that capture the distinctive emblems of West Auckland, such as native forest and Kauri trees and West Coast beaches. The style of painting, with meticulously and smoothly rendered transitions and details, knowingly takes up the "hard-edged" tradition in New Zealand painting associated with
557:, with brightly coloured bands seeming to form a grid behind the white bands. From 1978 onwards, the crayon lines were eliminated in favour of clean, masked edges of abutted colour, and with the exception of the Asymmetrical Lattices the square canvas became the standard support. A key example of this highly resolved system is
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of the brushwork, with the artist seeking to avoid an overly clean and detailed effect in favour of emphasising the materiality and construction of the image. A significant development in the series came with the lateral extension of the picture format, the figure positioned to one side of an abstract expanse of white canvas.
561:(1978, Dunedin Public Art Gallery), with which Scott won the 1978 Benson & Hedges Art Award. Scott invented a considerable range of compositions within the overall Lattice series, varying the width, layout and organisation of the bands as well as the range and intensity of the colours. A number of works, such as
548:
In 1975 Scott produced a large number of works on paper that contain the basic ingredients of what became the
Lattice series, an immense body of acrylic abstract paintings that he worked on intensively during the second half of the 1970s, and which he returned to repeatedly throughout the rest of his
519:
The "classic" examples from this series are composed of brightly coloured parallel bands, applied with spray cans, contained by a pale coloured rectangle that floats at an angle just off the vertical axis of a tall, rectangular, white-painted canvas. The most famous example of this series is probably
232:
Scott's early interest in art, before moving to New
Zealand, was fostered by his maternal grandfather, Ernest Cox, an amateur watercolourist. Scott would make sketches as he accompanied his grandfather on painting trips around the moors. In Auckland, he painted landscapes in both oils and watercolour
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culture of suburban New
Zealand. However, Scott's feelings for this local environment were by no means expressed in an illustrative or representational idiom. Rather, they were condensed and emblematised, absorbed into a formal language that drew inspiration from American modernism, particularly the
403:
is probably the most well-known of these works, which former curator at Te Papa
William McAloon has described as being "produced at a time when the histories of New Zealand painting were being written and the identification of an authentic local tradition – one rooted in the landscape, the harsh New
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magazines standing in front of paintings, usually representations of modernist abstract or Pop works that appear to be hanging on the exterior walls of suburban houses or on the white walls of an art gallery. The style of the paintings, particularly those before 2004, is notable for the physicality
518:
In 1973 Scott returned to
Auckland, and produced a series of large abstract paintings using paint rollers and commercial house paint. The paint is rolled on freely and casually in wide swathes or chunky arcs and blocks. These works evolved into the Sprayed Stripes, which spanned the years 1973–75.
292:(Kelliher Art Trust) and a Merit Prize in 1966. During this period, while studying at Elam, he also painted abstract works and developed a representational style which he referred to as "New Realism". The latter were informed by developments in American painting of the early 1960s, such as the
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The Model series brings together elements of Scott's figurative work and his ongoing commitment to the modernist ambition of inventing new pictorial structures (the way in which the visual elements of a painting are arranged on the canvas surface). Just as in many of the earlier "New
Realist"
494:, particularly the paintings of Poons and Olitski. In 1971 Scott visited Auckland to see an exhibition of paintings by Morris Louis at the Auckland Art Gallery. The exhibition left a lasting impression, and Scott was particularly impressed by the almost 24-foot long Unfurled painting,
486:. Over the next couple of years he painted the Tasman Bay series – ostensibly abstract paintings, though with a landscape feeling, which have thick fields of muted colour, greens and yellows predominantly, and reflect Scott's interest in the "thick field" paintings of the American
537:
321:
312:(1967, Wallace Arts Trust), two or more aircraft crash spectacularly and comically. In these early paintings we see the beginnings of the kind of disjunctive imagery, or collisions of different traditions and realities, that became a conspicuous feature of Scott's work.
644:(CoCA) in Christchurch came under fire from members of the public, community organisations and critics, and generated intense online debate. Director of CoCA at the time, Warren Feeney, subsequently wrote: "Has any series of paintings ever been more loathed?"
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Scott's "Girlie" paintings, though critically acclaimed, were also controversial when they were first exhibited in the late 1960s due to the display of nudity that was then considered too explicit in New
Zealand's relatively conservative society. The painting
507:
333:
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Scott met Nan Corson in 1978. They briefly lived in the
Auckland suburb of Epsom before purchasing a house in Mt Eden. Their son, Chris Corson-Scott, was born in 1985, and is an artist working in the medium of photography in Auckland, New Zealand.
609:(1969), which was a finalist in the 1969 Manawatu Art Prize, was banned from exhibition in the regional centres of Palmerston North and Hamilton after a public outcry in which the gallery received letters of complaint. The Hawkes Bay newspaper,
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However, there are a large number of paintings in the series, including major examples, that do not fit the popular perception of the "Girlie" series. These include portraits of notable figures in the artist's life, such as his brother
615:, ran an article that recorded reactions of outrage to the painting. In a strange and unfortunate twist, the painting was later loaned to a friend of the artist, and changed hands several times leading to its eventual destruction.
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that would include Scott as one of its artists. Scott completed his Diploma in Fine Arts with Honours in 1967, and was awarded the Fowlds Memorial Prize. The following year he began training as a Secondary School teacher at the
344:
In 1967 Scott's stylised landscapes began to feature women clad in bikinis or fashionable garments of the era such as mini skirts – images that were often appropriated from popular culture, including magazines (such as
365:. Scott's paintings of the 1967–70 period have been labelled the "Girlie" series on account of their frolicking, scantily clad female protagonists. Important examples of works that fit this description include
237:, took art classes with the prominent New Zealand painter Garth Tapper and Rex Head, a regular entrant in the Kelliher Art Award for landscape painting. In 1963 Scott attended evening classes run by
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to exclaim that it "charges out of the late 1960s like a rogue elephant," a phrase that nicely captures Scott's propensity for brazenly disrupting the norms and conventions of New Zealand art.
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and representation, and using controversial themes and approaches, while maintaining a highly personal and recognisable style. His work spans a wide range of concerns including the
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and national concerns. Over the course of his career he consistently sought to push his work towards new possibilities for painting, in the process moving between
1971:
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553:(May 1977, Christchurch Art Gallery), have white horizontal and vertical as well as diagonal bands, their edges marked by black crayon rubbed along the edges of
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paintings, Scott was both exploring and challenging the tradition of the nude with reference to contemporary popular culture. The paintings feature women from
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300:, and include paintings of suburban weatherboard houses (characteristic of 1960s West Auckland), often placed incongruously in landscape settings such as
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concluded "Few other local painters have been as prolific as he was, even fewer as determined to explore such diverse and, sometimes, divisive content".
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and art historical references. Scott's paintings are distinctive for their intensity of colour and light. His approach to painting is aligned with the
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328:, 1969. Oil on canvas, 1725 x 1515 mm. The Museum of New Zealand Te Papa Tongarewa. Purchased 1971 from Wellington City Council Picture Purchase Fund
1944:
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1988:
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Scott established an early reputation as a landscape painter, winning the junior section of the Kelliher Art Award in 1965 with
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painter. His work was significant for pursuing an international scope and vision within a local context previously dominated by
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2044:
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newspaper mentioned "Ian Scott whose untimely death robbed New Zealand of a vital artistic voice". In a tribute to Scott, the
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2054:
591:(1960, National Gallery of Australia, Canberra), one of the sources of inspiration for this new "open" pictorial structure.
257:, who became an important historian of New Zealand art, and Petar Vuletic, a controversial critic and later partner of the
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or Auckland's West Coast. Some of these paintings are made up of two panels and divided into several separate images.
1956:
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Scott's teacher-training obligated him to take up a teaching position upon completion of the programme. He moved to
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Moors near Bradford. In 1952, when Scott was seven, his parents, Barbara (Cox) and John Scott, moved the family to
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was one of 166 paintings included by the Museum of New Zealand in their 2012 launch of their online collection.
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84:
2015:
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305:
152:
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critic, G.E. Fairburn, described them as "repellent", adding that they "need to be seen to be believed."
514:, 1974. Acrylic and enamel on canvas, 2360 x 1440 mm. Auckland Art Gallery Toi o Tāmaki, purchased 1975
249:, and in 1965 his tutors there included Tapper and McCahon. Scott up a friendship with fellow student
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796:
242:
479:
258:
168:
2004:
544:, 1979. Acrylic on canvas, 1727 x 1730 mm. Museum of New Zealand Te Papa Tongarewa, purchased 1980
204:, England on 20 April 1945, the oldest of five sons. His family initially lived in the village of
1998:
786:
491:
536:
320:
1980:
1144:
1075:
New Zealand Modernism – The Content of Form. Paintings from the Jenny Gibbs Collection, Vol. 3
882:
850:
1976:
1932:
1920:
347:
297:
1992:
1487:
Hanfling, Edward (2002). "The House-Painting Aesthetic in 1970s New Zealand Abstraction".
1179:
Hanfling, Edward (Summer 2001–2002). "All in a Quiver: Ian Scott's Sexy Sprayed Stripes".
250:
408:
painting gone airborne. More obvious touchstones for the series are American pop artists
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340:, 1968. Oil on canvas, 1730 x 1730 mm. Auckland Art Gallery Toi o Tāmaki, purchased 2004
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Fowlds Memorial Prize 1967, Benson and Hedges Art Award 1968, Manawatu Art Prize 1969–70
1985:
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1687:"Hamish McKay Gallery | Exhibitions | Ian Scott - Minimal Lattices 1978-1988"
1110:
483:
467:
445:
413:
180:
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2028:
628:
301:
238:
184:
1252:
The Kelliher: 67 Award Winning Paintings of the New Zealand Landscape and Its People
1033:
The Kelliher: 67 Award Winning Paintings of the New Zealand Landscape and Its People
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2019:
2009:
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221:
176:
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1908:
863:. (exhibition catalogue), Hamilton: Centre for Contemporary Art, Hamilton, 1993.
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217:
160:
156:
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1728:
618:
When Scott entered two more "Girlie" paintings in the 1970 Manawatu Art Prize,
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aircraft are sometimes visible in the sky, and in several paintings, including
708:
Representation and Reaction: Modernism and the New Zealand landscape Tradition
362:
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1284:. Hamilton: Waikato Museum of Art and History Te Whare Taonga o Waikato. n.p.
220:, seeking a life that offered more opportunity than the severe world of post-
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902:. (exhibition catalogue), Hamilton: Waikato Museum of Art and History, 1998.
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409:
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of Sunnyvale, the Waitākere Ranges and the West Coast and, when he attended
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172:
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tradition, responding to the formal standards set by the American painters
167:), popular imagery (particularly the representation of the female figure),
448:). Others have images of couples and children, both idealised and absurd (
440:, 1969–70, Auckland Art Gallery Toi o Tāmaki) and his Wellington dealer (
213:
201:
88:
64:
45:
1656:
Fairburn, G.E. (30 January 1971). "Arts Show Marks Sponsor's Goodwill".
1091:. Auckland & Whanganui: Fletcher Trust & Sarjeant Gallery, 2002.
353:
293:
205:
1453:
Scott, Ian (Summer 1974). "Nineteen Painters: Their Favourite Works".
1419:
Hanfling, Edward (2009). "Morris Louis in Australia and New Zealand".
373:(1969, Waikato Museum of Art and History Te Whare Taonga o Waikato),
1014:. (exhibition catalogue), Auckland: Auckland City Art Gallery, 1982.
923:. (exhibition catalogue), Auckland: Auckland City Art Gallery, 1983.
1141:
The Invention of New Zealand: Art & National Identity 1930–1970
535:
505:
331:
319:
1995:
Art New Zealand, Number 13/Spring 1979, interview by Michael Dunn
1899:, Christchurch Art Gallery Te Puna O Waiwhetu – Collection Online
1019:
Landscape Paintings of New Zealand: A Journey From North to South
1000:. Auckland: Gus Fisher Gallery, The University of Auckland, 2003.
984:
Towards Aotearoa: A Short History of 20th Century New Zealand Art
1012:
Ian Scott: Colour Chords and White Lattices, Artist Project No.3
921:
Aspects of Recent New Zealand Art. The Grid: Lattice and Network
668:, Museum of New Zealand Te Papa Tongarewa, Wellington, 2018-2020
640:
In 2007 an exhibition of Scott's Model series paintings at the
686:, Museum of New Zealand Te Papa Tongarewa, Wellington, 2004–12
524:
1999:
Leapaway Girl at the Museum of New Zealand Te Papa Tongarewa
942:
Art Toi: New Zealand Art at Auckland Art Gallery Toi o Tāmaki
722:, Robert McDougall Contemporary Art Annex, Wellington, 1997
245:. In 1964 he began studies at the University of Auckland's
2012:
Art New Zealand, Number 101/Summer 2001 by Edward Hanfling
714:
New Visions: Beginning the Contemporary in New Zealand Art
1671:
Feeney, Warren (19 July 2013). "Daring to be different".
1061:
We Set Out One Morning: Works from the BNZ Art Collection
131:
1026:
The Big Picture: A History of New Zealand Art from 1642
502:
The Roller-stroke and Sprayed Stripe Paintings, 1971–73
1611:
Docking, Gil; Dunn, Michael; Hanfling, Edward (2012).
1361:
Towards Aotearoa: A Short History of 20th Century Art
1105:. New Haven & London: Yale University Press,1997.
965:(revised). Auckland: Auckland University Press, 2003.
385:(1969, Museum of New Zealand Te Papa Tongarewa) and
956:
Two Hundred and Forty Years of New Zealand Painting
678:
Local Revolutionaries: Art & Change 1965 – 1986
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118:
110:
102:
94:
80:
72:
53:
27:
20:
954:Docking, Gil, Michael Dunn & Edward Hanfling.
893:Ian Scott: The Model Series Paintings: 1996 – 2004
789:. In a review of the cultural highlights of 2013,
1317:Ian Scott: The Girlie Series Paintings: 1968–1970
1215:
1213:
1211:
1209:
928:An Introduction to New Zealand Painting 1839–1980
785:Scott died in Auckland in 2013 and was buried at
587:(April 2006) alludes to Morris Louis's painting,
569:(1982, Museum of New Zealand Te Papa Tongarewa).
498:(1960, National Gallery of Australia, Canberra).
1113:: The Life and Times of a New Zealand Art Dealer
436:, 1967–68, Hocken Library, University of Otago;
1598:Ian Scott: The Model Series Paintings 1996–2004
1583:Ian Scott: The Model Series Paintings 1996–2004
1319:. Unpublished MA Thesis University of Auckland.
1295:
1293:
1291:
1098:. Wellington: Victoria University Press, 1999.
770:, Manawatu Art Gallery, Palmerston North, 1969
528:paintings of Morris Louis and Kenneth Noland.
389:(1969–70, Auckland Art Gallery Toi o Tāmaki),
2005:NZ History Online: Leapaway Girl by Ian Scott
1566:Bett, Elva (19 May 1981). "Artist Survives".
253:, and during his time at art school also met
8:
2060:People educated at Kelston Boys' High School
1084:. Auckland: Godwit & Random House, 2002.
1005:Auckland Art Gallery Toi o Tāmaki: The Guide
989:Hammonds, Lucy & Douglas Lloyd Jenkins.
826:Sarjeant Gallery Te Whare o Rehua Whanganui
820:Christchurch Art Gallery Te Puna o Waiwhetu
811:The Museum of New Zealand Te Papa Tongarewa
381:(1969, Victoria University of Wellington),
106:Realism, Pop Art, Modernism, Post-Modernism
1442:. Auckland: Gus Fisher Gallery. p. 9.
1040:New Zealand Art: From Cook to Contemporary
17:
1947:, The James Wallace Arts Trust collection
1863:, Museum of New Zealand Te Papa Tongarewa
1600:. Auckland: Ferner Galleries. p. 13.
1476:. Auckland: Ferner Galleries. p. 17.
1304:. Wellington: Te Papa Press. p. 269.
1202:. Auckland: Ferner Galleries. p. 23.
1094:Sinclair, Alex & John Yealsley, eds.
977:A Concise History of New Zealand Painting
972:. New South Wales: Craftsman House, 1996.
958:(revised). Auckland: David Bateman, 2012.
829:The Suter Art Gallery Te Aratoi o Whakatū
698:, New Gallery, Auckland Art Gallery, 2004
1525:. Auckland: Lopdell Gallery. p. 12.
1082:Rainbow Over Mt Eden: Images of Auckland
656:, Hamish Mckay Gallery, Wellington, 2019
1615:. Auckland: David Bateman. p. 260.
1538:New Zealand Painting: A Concise History
1438:Hanfling, Edward; Wright, Alan (2003).
1378:. Auckland: Lopdell Gallery. p. 8.
1269:. Auckland: Lopdell Gallery. p. 2.
1239:. Auckland: Marsden Press. p. 154.
1131:
1096:Risk and the Institutions of Government
1054:Victoria's Art: A University Collection
1007:. Auckland: Auckland Art Gallery, 2001.
963:New Zealand Painting: A Concise History
944:. Auckland: Auckland Art Gallery, 2011.
900:There & Back: Ian Scott 1960 – 1996
1630:. Auckland: Marsden Press. p. 62.
1555:. Auckland: Marsden Press. p. 84.
1408:. Auckland: Marsden Press. p. 68.
1393:. Auckland: Marsden Press. p. 18.
1063:. Auckland: Bank of New Zealand, 2006.
776:, Barry Lett Galleries, Auckland, 1968
764:, Barry Lett Galleries, Auckland, 1969
460:, 1969, Te Manawa, Palmerston North).
316:"New Realist"/"Girlie" series, 1967–70
1224:. Auckland: Marsden Press. p. 9.
1056:. Wellington: Adam Art Gallery, 2005.
914:New Zealand Art: A Modern Perspective
660:Realist paintings from the late 1960s
585:Model Series No. 80: The End of Louis
147:(20 April 1945 – 27 June 2013) was a
7:
1830:. Auckland Art Gallery. 11 July 2013
996:Hanfling, Edward & Alan Wright.
970:Contemporary Painting in New Zealand
881:. Auckland: Ferner Galleries, 2005.
870:. (exhibition catalogue), Auckland:
704:, Gus Fisher Gallery, Auckland, 2003
1972:Ian Scott on the Google Art Project
1796:"The Press' cultural picks of 2013"
1282:There and Back: Ian Scott 1960–1996
947:Caughey, Elizabeth & John Gow.
895:. Auckland: Ferner Galleries, 2004.
710:, Sarjeant Gallery, Whanganui, 2002
412:, in his paintings of pin-ups, and
264:Auckland Teachers' Training College
1986:Ian Scott Talks About his Lattices
1897:Search Results – Collection |
1771:. Auckland Council. Archived from
1489:Journal of New Zealand Art History
1168:. Auckland: Ferner Galleries. n.p.
1115:. Wellington: Te Papa Press, 2013.
1068:Forty Modern New Zealand Paintings
1049:. Wellington: Te Papa Press, 2009.
1042:. Wellington: Te Papa Press, 2010.
1021:(revised). Auckland: Godwit, 2013.
986:. Auckland: Reed Publishing, 2007.
926:Brown, Gordon & Hamish Keith.
14:
1715:"Kaleidoscope: Abstract Aotearoa"
1613:240 Years of New Zealand Painting
1122:. Auckland: Penguin/Viking, 2008.
849:. Auckland: Marsden Press, 1998.
808:Auckland Art Gallery Toi o Tāmaki
2075:English emigrants to New Zealand
1794:Chris Moore (22 December 2013).
1743:"Ian Christopher Scott obituary"
1332:"Te Papa launches virtual tours"
1070:. Auckland: Penguin Books, 1985.
993:. Napier: MTG Hawke's Bay, 2013.
979:. Auckland: David Bateman, 1991.
951:. Auckland: David Bateman, 1997.
930:. Auckland: David Bateman, 1988.
868:Ian Scott Paintings: 1968 – 1982
861:Ian Scott Paintings: 1986 – 1989
744:New Zealand Young Contemporaries
672:Sprayed Stripes and New Lattices
1977:Digital NZ: Ian Scott 1945–2013
1959:, The Fletcher Trust Collection
1875:, National Gallery of Australia
1861:Scott, Ian – Collections Online
1641:"Not Everybody's Idea of Art".
1035:. Auckland: Orakau House, 1979.
1028:. Auckland: Random House, 2007.
916:. Auckland: Reed Methuen, 1986.
762:Richard Killeen & Ian Scott
692:, City Gallery Wellington, 2004
680:, Auckland Art Gallery, 2010–11
666:Kaleidoscope: Abstract Aotearoa
369:(1968–69, private collection),
279:Main periods and series of work
1523:Ian Scott: Paintings 1968–1982
1376:Ian Scott: Paintings 1968–1982
1363:. Auckland: Reed. p. 136.
1267:Ian Scott: Paintings 1968–1982
1254:. Auckland: Orakau House. n.p.
1143:. Auckland: AUP. p. 375.
1103:Rethinking Visual Anthropology
949:Contemporary New Zealand Art 1
684:Toi Te Papa: Art of the Nation
674:, Michael Lett, Auckland, 2017
662:, Michael Lett, Auckland, 2019
1:
2080:Burials at Waikumete Cemetery
1585:. Auckland: Ferner Galleries.
1540:. Auckland: AUP. p. 152.
1510:. Auckland: Ferner Galleries.
1330:Sophie Speer (4 April 2012).
1166:Ian Scott: A Review 1963–2007
835:The Fletcher Trust Collection
814:National Gallery of Australia
774:Benson & Hedges Art Award
1887:, Dunedin Public Art Gallery
1643:Daily Telegraph (Hawkes Bay)
832:The James Wallace Arts Trust
758:, Auckland Art Gallery, 1976
752:, Auckland Art Gallery, 1977
746:, Auckland Art Gallery, 1977
740:, Auckland Art Gallery, 1978
734:, Auckland Art Gallery, 1981
728:, Auckland Art Gallery, 1983
716:, Auckland Art Gallery, 2001
434:Colin McCahon in North Otago
432:, 1968–69), fellow artists (
2050:New Zealand modern painters
1089:Representation and Reaction
654:Minimal Lattices: 1978-1988
377:(1969, Real Art Roadshow),
310:Air Disaster Over Mt Sefton
2096:
1957:8 items matching Ian Scott
1885:Collection: Search Results
1315:Graham, Christine (2003).
817:Dunedin Public Art Gallery
803:Work in museum collections
642:Centre of Contemporary Art
1769:"Cemetery search details"
1596:Hanfling, Edward (2004).
1581:Hanfling, Edward (2004).
1506:Hanfling, Edward (2005).
1472:Hanfling, Edward (2005).
1300:McAloon, William (2009).
1198:Hanfling, Edward (2005).
1164:Hanfling, Edward (2007).
991:Architecture of the Heart
937:. Auckland: Godwit, 1995.
935:100 New Zealand Paintings
474:The Nelson years, 1971–73
444:, 1969–70, Collection of
235:Kelston Boys' High School
1359:Eggleton, David (2007).
1017:Johnstone, Christopher.
840:Publications about Scott
247:Elam School of Fine Arts
85:Elam School of Fine Arts
1935:, The Suter Art Gallery
1933:Ian Scott - Green Light
1824:"Ian Scott (1945–2013)"
1626:Brown, Warwick (1998).
1551:Brown, Warwick (1998).
1421:The Burlington Magazine
1404:Brown, Warwick (1998).
1389:Brown, Warwick (1998).
1235:Brown, Warwick (1998).
1220:Brown, Warwick (1998).
1139:Pound, Francis (2009).
573:Model series, 1996–2007
2065:Nelson College faculty
2045:Elam Art School alumni
1991:15 August 2013 at the
1911:, The Dowse Art Museum
1851:, Auckland Art Gallery
1747:The New Zealand Herald
1536:Dunn, Michael (2003).
1521:Dunn, Michael (1991).
1440:Vuletic and his Circle
1374:Dunn, Michael (1991).
1280:Sibson, Tracy (1998).
1265:Dunn, Michael (1991).
1250:King, Richard (1979).
1052:McAloon, William, ed.
1045:McAloon, William, ed.
1038:McAloon, William, ed.
998:Vuletic and His Circle
702:Vuletic and His Circle
545:
515:
438:Don Binney at Te Henga
375:Homage to Morris Louis
341:
329:
306:Lockheed L-188 Electra
200:Ian Scott was born in
163:landscape (especially
2070:Artists from Bradford
2055:Artists from Auckland
1909:Ian Scott 1945 – 2013
1120:New Zealand Portraits
539:
509:
335:
323:
145:Ian Christopher Scott
32:Ian Christopher Scott
1717:. 18 September 2017.
1003:Johnson, Alexa, ed.
823:The Dowse Art Museum
797:Auckland Art Gallery
243:Auckland Art Gallery
2016:Ian Scott 1945–2013
1508:Ian Scott: Lattices
1474:Ian Scott: Lattices
1200:Ian Scott: Lattices
940:Brownson, Ron, ed.
879:Ian Scott: Lattices
750:New Zealand Drawing
612:The Daily Telegraph
418:Great American Nude
259:Petar/James Gallery
2001:by William McAloon
1923:, Sarjeant Gallery
1775:on 1 November 2014
1101:Thomas, Nicholas.
1059:O'Brien, Gregory.
891:Hanfling, Edward.
877:Hanfling, Edward.
787:Waikumete Cemetery
768:Manawatu Art Prize
756:Abstract Attitudes
720:Primary Structures
600:"Girlie" paintings
546:
516:
492:American modernism
482:and taught art at
342:
330:
290:Low Tide, Anawhata
1981:Courtney Johnston
1108:Trevelyan, Jill.
1077:. Auckland: 1997.
1010:Johnston, Alexa.
982:Eggleton, David.
430:Nigel at Anawhata
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1645:. 10 March 1970.
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1203:
1195:
1189:
1188:
1176:
1170:
1169:
1161:
1155:
1154:
1136:
1118:Wolfe, Richard.
1066:Pound, Francis.
933:Brown, Warwick.
859:Brown, Warwick.
845:Brown, Warwick.
738:Auckland Artists
696:Everyday Minimal
690:Telecom Prospect
298:James Rosenquist
138:
135:
133:
60:
41:
39:
18:
2095:
2094:
2090:
2089:
2088:
2086:
2085:
2084:
2025:
2024:
2010:All in a Quiver
1993:Wayback Machine
1968:
1963:
1955:
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1943:
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1927:
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1181:Art New Zealand
1178:
1177:
1173:
1163:
1162:
1158:
1151:
1150:978-1-869404147
1138:
1137:
1133:
1129:
1031:King, Richard.
1024:Keith, Hamish.
975:Dunn, Michael.
968:Dunn, Michael.
961:Dunn, Michael.
919:Bogle, Andrew.
909:
907:Further reading
898:Sibson, Tracy.
887:978-0-958267007
872:Lopdell Gallery
866:Dunn, Michael.
855:978-0-473045197
842:
805:
783:
650:
648:Key exhibitions
638:
602:
597:
575:
534:
504:
476:
318:
286:
281:
272:
251:Richard Killeen
230:
198:
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130:
68:
62:
58:
49:
43:
37:
35:
34:
33:
23:
12:
11:
5:
2093:
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2052:
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2042:
2037:
2027:
2026:
2023:
2022:
2013:
2007:
2002:
1996:
1983:
1974:
1967:
1966:External links
1964:
1962:
1961:
1949:
1937:
1925:
1913:
1901:
1889:
1877:
1865:
1853:
1841:
1815:
1804:. Christchurch
1786:
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1692:
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1351:
1340:. Christchurch
1322:
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1227:
1205:
1190:
1171:
1156:
1149:
1130:
1128:
1125:
1124:
1123:
1116:
1111:Peter McLeavey
1106:
1099:
1092:
1085:
1078:
1071:
1064:
1057:
1050:
1047:Art at Te Papa
1043:
1036:
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669:
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649:
646:
637:
634:
601:
598:
596:
593:
574:
571:
567:Lattice No. 91
563:Lattice No. 58
559:Lattice No. 45
551:Lattice No. 11
533:
530:
503:
500:
484:Nelson College
475:
472:
468:David Eggleton
446:Peter McLeavey
442:Peter McLeavey
414:Tom Wesselmann
367:Land of Dreams
361:, McCahon and
317:
314:
285:
282:
280:
277:
271:
268:
229:
226:
197:
194:
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189:
181:Kenneth Noland
140:
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95:Known for
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78:
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70:
69:
63:
61:(aged 68)
55:
51:
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31:
29:
25:
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10:
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1749:. 3 July 2013
1748:
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1658:Waikato Times
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1302:Art at TePapa
1296:
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1114:
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1107:
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1100:
1097:
1093:
1090:
1087:Shaw, Peter.
1086:
1083:
1080:Shaw, Peter.
1079:
1076:
1073:Ross, James.
1072:
1069:
1065:
1062:
1058:
1055:
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769:
766:
763:
760:
757:
754:
751:
748:
745:
742:
739:
736:
733:
732:Print Sampler
730:
727:
724:
721:
718:
715:
712:
709:
706:
703:
700:
697:
694:
691:
688:
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664:
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635:
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631:
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629:Waikato Times
625:
621:
616:
614:
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608:
599:
595:Controversies
594:
592:
590:
586:
581:
572:
570:
568:
564:
560:
556:
552:
543:
542:Lattice No.58
538:
531:
529:
526:
522:
513:
508:
501:
499:
497:
493:
489:
485:
481:
473:
471:
469:
465:
461:
459:
458:Golden Dreams
455:
451:
447:
443:
439:
435:
431:
425:
423:
422:Leapaway Girl
419:
415:
411:
407:
402:
401:Leapaway Girl
398:
396:
392:
388:
384:
383:Leapaway Girl
380:
379:Jumpover Girl
376:
372:
368:
364:
360:
356:
355:
350:
349:
339:
334:
327:
326:Leapaway Girl
322:
315:
313:
311:
307:
303:
302:Milford Sound
299:
295:
291:
283:
278:
276:
269:
267:
265:
260:
256:
252:
248:
244:
240:
239:Colin McCahon
236:
227:
225:
223:
219:
215:
211:
207:
203:
195:
190:
188:
186:
185:Jules Olitski
182:
178:
174:
170:
169:appropriation
166:
165:West Auckland
162:
158:
154:
150:
146:
137:
129:
125:
121:
117:
113:
109:
105:
101:
97:
93:
90:
86:
83:
79:
76:New Zealander
75:
71:
67:, New Zealand
66:
56:
52:
47:
42:20 April 1945
30:
26:
19:
16:
2020:Ron Brownson
1952:
1940:
1928:
1916:
1904:
1892:
1880:
1868:
1856:
1844:
1832:. Retrieved
1828:Outpost blog
1827:
1818:
1806:. Retrieved
1799:
1789:
1777:. Retrieved
1773:the original
1763:
1751:. Retrieved
1746:
1737:
1723:
1709:
1695:
1681:
1672:
1666:
1657:
1651:
1642:
1636:
1627:
1621:
1612:
1606:
1597:
1591:
1582:
1576:
1567:
1561:
1552:
1546:
1537:
1531:
1522:
1516:
1507:
1501:
1492:
1488:
1482:
1473:
1467:
1458:
1454:
1448:
1439:
1433:
1424:
1420:
1414:
1405:
1399:
1390:
1384:
1375:
1369:
1360:
1354:
1342:. Retrieved
1335:
1325:
1316:
1310:
1301:
1281:
1275:
1266:
1260:
1251:
1245:
1236:
1230:
1221:
1199:
1193:
1184:
1180:
1174:
1165:
1159:
1140:
1134:
1119:
1109:
1102:
1095:
1088:
1081:
1074:
1067:
1060:
1053:
1046:
1039:
1032:
1025:
1018:
1011:
1004:
997:
990:
983:
976:
969:
962:
955:
948:
941:
934:
927:
920:
913:
912:Bett, Elva.
899:
892:
878:
867:
860:
846:
790:
784:
773:
767:
761:
755:
749:
743:
737:
731:
725:
719:
713:
707:
701:
695:
689:
683:
677:
671:
665:
659:
653:
639:
636:Model series
627:
623:
619:
617:
610:
606:
603:
588:
584:
576:
566:
562:
558:
555:masking tape
550:
547:
541:
532:The Lattices
520:
517:
511:
495:
477:
463:
462:
457:
456:, 1970, and
453:
449:
441:
437:
433:
429:
426:
421:
417:
400:
399:
394:
390:
386:
382:
378:
374:
371:Rainbow Girl
370:
366:
352:
346:
343:
337:
325:
309:
289:
287:
273:
255:Michael Dunn
231:
222:World War II
199:
177:Morris Louis
144:
143:
59:(2013-06-27)
57:27 June 2013
15:
2040:2013 deaths
2035:1945 births
1729:"Ian Scott"
1701:"Ian Scott"
622:(1970) and
607:Lawn Lovers
540:Ian Scott.
510:Ian Scott.
488:Larry Poons
406:color field
393:(1970) and
336:Ian Scott.
324:Ian Scott.
218:New Zealand
161:New Zealand
157:abstraction
153:regionalist
149:New Zealand
73:Nationality
2029:Categories
1945:SCOTT, Ian
1834:10 January
1808:10 January
1779:31 October
1753:31 October
1344:10 January
1127:References
624:Table Baby
454:Table Baby
391:Agronomist
363:Don Binney
359:Rita Angus
284:Early work
196:Early life
114:Nan Corson
38:1945-04-20
1921:Ian Scott
1873:Ian Scott
1849:Ian Scott
1801:The Press
1673:The Press
1628:Ian Scott
1553:Ian Scott
1406:Ian Scott
1391:Ian Scott
1337:The Press
1237:Ian Scott
1222:Ian Scott
847:Ian Scott
792:The Press
580:soft-porn
450:Offspring
420:series."
410:Mel Ramos
228:Education
224:England.
210:Yorkshire
191:Biography
173:modernist
81:Education
48:, England
22:Ian Scott
1989:Archived
1568:Dominion
1495:: 29–42.
1187:: 62–65.
726:The Grid
626:(1970),
620:Sky Leap
452:, 1969,
397:(1970).
387:Sky Dash
214:Auckland
202:Bradford
132:ianscott
103:Movement
98:Painting
89:Auckland
65:Auckland
46:Bradford
1455:Islands
874:, 1991.
589:Beta Nu
496:Beta Nu
416:in his
354:Playboy
294:Pop Art
241:at the
208:on the
206:Baildon
127:Website
1461:: 376.
1427:: 835.
1147:
885:
853:
781:Legacy
521:Quiver
512:Quiver
480:Nelson
395:Teller
270:Family
119:Awards
111:Spouse
464:Track
348:Vogue
338:Track
1836:2014
1810:2014
1781:2014
1755:2014
1346:2014
1145:ISBN
883:ISBN
851:ISBN
351:and
183:and
54:Died
28:Born
2018:by
1979:by
1425:CLI
1185:101
525:DIY
296:of
136:.nz
134:.co
2031::
1826:.
1798:.
1745:.
1493:23
1491:.
1459:10
1457:.
1423:.
1334:.
1290:^
1208:^
1183:.
266:.
216:,
187:.
179:,
87:,
1838:.
1812:.
1783:.
1757:.
1731:.
1703:.
1689:.
1675:.
1660:.
1570:.
1348:.
1153:.
428:(
40:)
36:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.