Beschreibung:

Cup and Pan Blues’ signed and dated '70 in pencil (lower right) silkscreen in colours, numbered 98/100, 59x88 cm (70,3x101 cm) Printed by Curwen Studio, published by Curwen Prints, London. Literature: 'William Scott-a survey of his original prints', Archeus Editions, London 2005, p. 9, p. 22 illustrated. Archeus chronological checklist of the prints, no. 27. ‘I am an abstract artist in that I abstract. I cannot be called non-figurative while I am still interested in the modern magic of space, primitive sex forms, the sensual and erotic, disconcerting contours, the things of life’ (William Scott quoted in William Scott Paintings, ed. Alan Bowness, Lund Humphries, London, 1964 p.9) '…In 1970, after a four years break, Scott once again enters the printmaking studio. Scott produced five prints which summarise the polar shift in his work that occurred in the late sixties. The plain coloured grounds were there to stay, but his pans and bowls had returned to the work, this time with a stylish simplicity. ‘Cup and Pan Blues’ and ‘Cup, Bowl, Pan, Browns and Ochres’ were probably the most flamboyant early examples in print of this new direction. Often, compositions were initially worked out and balanced by placing and toying with paper shapes, and a cast of a new pan variations dominated the arrangements. The frying pan, rotated so that the handle almost invariably pointed up as in ‘Black Pan, Beige Cup on Brown’, became a familiar motif. The ambiguity of following Scott’s visual instructions to see the frying pan from above, as if flat on a table, it at odds with the straightforward profile of the cup, properly articulated. This odd duality had, by now, become almost expected in Scott’s work, and one can instantly see that, masterfully aware of the success of these illogical arrangements, Scott was clearly in his element in this late period…' (Brian Balfour-Oatts, in ‘William Scott-a survey of his original prints’, Archeus Editions, London 2005)