Lot 111: Marian Mildred Dale Scott 1906 - 1993 Canadian oil

Marian Mildred Dale Scott 1906 - 1993 Canadian oil on linen Tulip 20 x 20 inches 50.8 x 50.8 centimeters signed and monogrammed Literature:Esther Trépanier, Marian Dale Scott, 1906 - 1993: pionnière de l'art moderne, Musée du Québec, 2000, reproduced page 145 and listed page 263 Colin S. MacDonald, A Dictionary of Canadian Artists, Volume 8, Part 1, 2006, pages 284 and 285 Provenance:Private Collection, Montreal Exhibited:Art Association of Montreal, 56th Annual Spring Exhibit, March 9 - April 2, 1939, catalogue #295 Musée des beaux-arts de Montréal, Galerie XII, Marian Dale Scott and Gordon Webber, January 8 - 17, 1949, catalogue #12 Art Gallery of Toronto, Marian Scott and Lionel Thomas Exhibit, May 2 - 31, 1953, catalogue #8 Musée du Québec, Marian Dale Scott, 1906 - 1993: Pionnière de l'art moderne, April 6 - September 4, 2000, traveling to Galerie de l'UQAM, Montreal, the Art Gallery of Hamilton, The Edmonton Art Gallery, the Art Gallery of Windsor, The Robert McLaughlin Gallery, Oshawa and the Winnipeg Art Gallery, 2000 - 2003, catalogue #59 Marian Scott studied under William Brymner in Montreal and was fortunate to have the funds to travel as a young woman. Her exposure to international art and various artists of the British avant-garde influenced her work, as did the paintings of Georgia O'Keefe, whom Scott considered to be her "godmother". An interest similar to O'Keefe's in floral subjects came to dominate her work, and she stated, "I have liked working from plants and flowers, for they seem to reveal an inner and living order which I couldn't find in landscape." Scott is known for the creation of two important murals, one for McGill University's Medical Department of Histology in 1943 and the other for the Montreal General Hospital in 1956. These commissions boosted her interest in scientific exploration in her art, and her precise, elegantly enlarged style allowed her to study the structure of other complex forms from the natural world such as cells, crystals and fossils in a large, dramatic format. In the latter part of her life, she turned to geometric abstraction and non-objective painting.