New York

Sean Scully

Duffy Gibbs Gallery

Think of stripes. Think of Noland. Think about taking all of Noland’s colors—mush them together—come up with a color that looks like a muddy background grayish color for a Dutch Masters portrait—give it to Sean Scully and he’ll give you a painting that is more than just handsome—it’s significant.

Scully’s large gray-made-up-of-much-more-than-just-black-mixed-with-white horizontal striped paintings are built-up one- and two-layer thicknesses of alternating bands which create a physical foreground and background. The background is one layer of gray paint, the foreground two. The differences between the two bands are not only those of weight and density, but also the warm/cool relationship resulting from varying coats of the same color. This canonic technique is not unlike that of Porfirio di Donna (physical bands of color on which his dots or three-dimensional points rest); the similarity of

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