Scottish Paintings & Sculpture

Scottish Paintings & Sculpture (450) Thu, 10th Dec 2015, Edinburgh Lot 61 Estimate: £2000 - £3000 + Fees § SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) AUTUMN SUNSET Signed, oil on board 18cm x 25.5cm (7in x10in) Exhibited: Aitken Dott & Son, Sir William MacTaggart, Christmas Exhibition 1966, no.52 Note: Sir William MacTaggart is an artist of whom Edinburgh has long and rightly been proud. He was a central figure of the Edinburgh Group, a loose collective of critically and commercially successful artists which included his peers Anne Redpath, Sir William Gillies, William Crozier and Adam Bruce Thompson. Beyond this, MacTaggart also held many key roles within the city's artistic institutions. Born in Loanhead, Midlothian, he went on to study at the Edinburgh College of Art, later taking up a teaching post there, as well as serving as president of the Society of Scottish Artists between 1933-36, and ultimately as president of the Royal Scottish Academy in the years 1959-64. A towering figure in the Scottish art scene, his contribution was also recognised out with Scotland from early on in his career; he was a member of and exhibiter in the Royal Academy, and was knighted in 1962. MacTaggart came from artist stock, successfully proving his own merit and emerging from the long shadow cast by his grandfather, the popular and influential "Scottish Impressionist" William McTaggart. Aside from a looseness and airy freedom of brushwork, their work has little in common, though they both looked towards artistic developments in France when formulating the basis of their own personal style. MacTaggart had, as a young man in 1927, exhibited alongside Colourists S.J. Peploe and F.C.B. Cadell as a contributor to the Society of Eight exhibitions, staged in defiance of the pervading traditionalism of the Academy exhibitions at the time. Keen acolytes of Cezanne, it was not long before he and his friend William Crozier were following in the footsteps of their fellow Scotsmen and heading to France on painting trips. Though Fauvist tendencies undoubtedly pervade MacTaggart's work, it would perhaps be more accurate to describe his mature style as Expressionist. In 1937 he had married Fanny Aavatsmark, a Norwegian, and the relationship led to him spending increasing amounts of time in her homeland, where Cezanne's influence receded somewhat under MacTaggart's exposure to artists like Edvard Munch. Colour became increasingly important to him, and his compositions took on a dreamlike, unstructured quality. Whether a seascape or a still life, MacTaggart's style is both highly distinctive and strangely timeless, his technique placing him in a certain artistic tradition and his unusual, jewel-like palette appealing equally strongly to a contemporary audience..

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(1926-1998) the art of picture making 5 - 29 march 2014 16 Dundas Street, Edinburgh EH3 6HZ tel 0131 558 1200 email [email protected] www.scottish-gallery.co.uk Cover: Paola, Owl and Doll, 1962, oil on canvas, 63 x 76 cms (Cat. No. 29) Left: Self Portrait, 1965, oil on canvas, 91.5 x 73 cms (Cat. No. 33) 2 | DAVID McCLURE THE ART OF PICTURE MAKING | 3 FOREWORD McClure had his first one-man show with The “The morose characteristics by which we Scottish Gallery in 1957 and the succeeding recognise ourselves… have no place in our decade saw regular exhibitions of his work. painting which is traditionally gay and life- He was included in the important surveys of enhancing.” Towards the end of his exhibiting contemporary Scottish art which began to life Teddy Gage reviewing his show of 1994 define The Edinburgh School throughout the celebrates his best qualities in the tradition 1960s, and culminated in his Edinburgh Festival of Gillies, Redpath and Maxwell but in show at The Gallery in 1969. But he was, even by particular admires the qualities of his recent 1957 (after a year painting in Florence and Sicily) Sutherland paintings: “the bays and inlets where in Dundee, alongside his great friend Alberto translucent seas flood over white shores.” We Morrocco, applying the rigour and inspiration can see McClure today, fifteen years or so after that made Duncan of Jordanstone a bastion his passing, as a distinctive figure that made a of painting. His friend George Mackie writing vital contribution in the mainstream of Scottish for the 1969 catalogue saw him working in a painting, as an individual with great gifts, continental tradition (as well as a “west coast intellect and curiosity about nature, people and Scot living on the east coast whose blood is part ideas.
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