There’s a lot of force to these paintings. There’s a lot of physical force to them, a lot of tactile sexual energy, a lot of sensuality.But there’s a lot of uncertainy about what the relationship between the parts actually means and I think that that’s a very important aspect of my work. I mean if I have to choose a course between Puritanism and extreme romanticism, I think it’s clear than I’m going to choose extreme romanticism. But I think what l can contribute is something that has both in it, something that has the possibility of both in it, and it’s that extreme stretch that I want to try to achieve in my work. That’s my ambition.

Sean Scully has come into international prominence as one of the most admired painters working in the abstract tradition. His individual painterly style is sufficiently established that all those familiar with contemporary visual culture would recognise his work.

It was not always so. Only his extraordinary perseverance and self-belief, despite periods of selfldoubt and setback, have led to his sustained output of excellence for over three decades.

In 1981, while still a university student, I first saw Sean Scully’s work in the ten-year survey exhibition which came to Trinity College, Dublin, as part of a tour which had begun at the Ikon Gallery in Birmingham. Scully, born in DubLin, created quite an impact and it seemed likdy his star would rise.

When I took up the directorship of the National GaLlery of Australia in 1997, I was impressed immediately by the strength and depth of its collections. There were so many individual works of superJative quality. Among them it was pleasing to find a painting by Scully, and one with a powerful presence. Bigland 1987 88,although painted in response to the geographical scale of the USA, spoke also to Australia, a country of equal expanse but with only a fraction of the American population.

During my time in Canberra, the National Gallery’s curators,Jane Kinsman and Gael Newton, have complemented Biglandwith excellent works on paper by Scully, especially his photographic series Art Horizon 2001. It is with a sense of privilege that I thank the National Gallery of Australia Council and Foundation for acquiring for the collection, as a farewelJ gift in my honour,Scullv’s splendid painting Wall of light desert day 2003.

FOREWORD

Brian Kennedy

THE ART OF SEAN SCULLY: A human spirituahty

Brian Kennedy

INTERVIEW WITH SEAN SCULLY

  Jorg Zutter

SEAN SCULLY: A feminine macho

Timo Vuorikoski

SEAN SCULLY AND THE ART OF PAINTING

Arthur C. Danto

A MODERNISM THAT TURNED INTO A TRADITION: Glosses and associations

JBrgen Habermas

NUANCE AND INTENSITY IN SEAN SCULLY: Humanism in abstract disguise

Donald Kuspit

PHOTO ESSAY: Sean Scully paints Falling figure

Liliane Tomasko

WALLS AND FIELDS: Sean Scully's Wall of light desert day 2003

Shaune A. Lakin

CATALOGUE OF WORKS

Paintings

Floating paintings

Watercolours

Pastels

Photographs

Prints

Sketches

BIOGRAPHY

WORKS IN THE EXHIBITION

SELECTED BIBLIOGRAPHY

CONTRIBUTORS

LENDERS TO THE EXHIBITION

PHOTOGRAPHIC CREDITS

ACKNOWLEDGEMENTS