Imagine finding profound beauty in the simplest of things—a pot, a pan, or even a stone wall. This is the essence of William Scott’s art, and it’s about to captivate audiences in the West Country. A new exhibition, Beauty in Plainness – William Scott in Somerset, is bringing three of his monumental works to the Museum of Somerset in Taunton, just a stone’s throw from where the artist once lived and worked. But here’s where it gets fascinating: these paintings aren’t just relics of the past; they’re windows into a pivotal moment in art history—and a friendship that crossed continents.
Scott, a UK pioneer of abstract art, found inspiration in the ordinary, a philosophy that resonates deeply in his work. The exhibition not only showcases his masterpieces but also sheds light on a remarkable encounter. In 1959, the legendary American artist Mark Rothko visited Scott’s home in Somerset. And this is the part most people miss: during their time together, they discussed murals they were both creating—Scott for a hospital in Northern Ireland and Rothko for a New York restaurant. These conversations, though seemingly mundane, had profound implications for both artists.
One of the paintings on display, Ochre Still Life, features everyday kitchen items, while Black Painting may abstractly depict the stone walls Scott saw daily. But here’s the controversial bit: Scott’s mural for Altnagelvin Hospital in Derry was met with horrified silence when unveiled. Was it too abstract for its time? Or did it challenge viewers to see beauty in the unexpected? The exhibition invites you to decide.
Curator Tim Martin notes that these works were created at the peak of Scott’s career in the late 1950s, when his confidence was at its zenith. He also highlights the significance of Rothko’s visit, calling it a unique opportunity to reflect on the intersection of British and American art in a rural English setting. Rothko, inspired yet conflicted, later withdrew from his Seagram Building commission, deeming the restaurant’s exclusivity unfit for his art. He instead gifted nine canvases from the series to the Tate.
Here’s a thought to ponder: Did Rothko’s time in Somerset influence his decision? And what does Scott’s embrace of plainness teach us about finding beauty in our own lives? The exhibition runs from November 15, 2025, to February 7, 2026, with a preview talk by Martin on November 14. Don’t miss this chance to explore the extraordinary within the ordinary—and join the conversation. What do you think? Is beauty truly found in plainness, or is there more to the story? Let us know in the comments!
