J.D. Fergusson
J.D. Fergusson by Alice Strang, published by National Galleries of Scotland on December 4, 2013, is a detailed exploration of the life and work of the Scottish Colourist, J.D. Fergusson (1874-1961). This edition, comprising 128 pages, presents an overview of Fergusson’s artistic journey, highlighting his self-taught background and significant involvement in the avant-garde scene in Paris during 1907. The book discusses his interactions with notable figures, including dance pioneer Margaret Morris, who greatly influenced his creative output.
Readers will find a comprehensive examination of Fergusson’s contributions to British modernism, as well as insights into his assimilation of French painting developments. The text delves into his relationships within the art community, including his role as a founder member of the New Art Club and the New Scottish Group. This monograph not only reasserts Fergusson’s importance among his contemporaries but also provides a rich context for understanding his artistic legacy within the broader scope of art history.
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J. D. Fergusson (1874-1961) is one of the four artists known as the Scottish Colourists, the others being F. C. B. Cadell, G. L. Hunter and S. J. Peploe. Fergusson was born in Leith, and was essentially a self-taught artist. In Paris 1907 he became involved with the avant-garde scene and exhibited at the progressive Salon d’Automne. More than any of his Scottish contemporaries, Fergusson assimilated and developed the latest developments in French painting.
In 1913 Fergusson met the dance pioneer Margaret Morris (1891-1980). Morris’s creative dance movements and her students continued to be one of Fergusson’s main sources of inspiration and models. In 1929 Fergusson returned to Paris where he was involved with the Anglo-American art circles. Most summers were spent in the south of France where Morris held her celebrated Summer Schools.
The couple moved to Glasgow in 1939 being founder members of the New Art Club and of its off-shoot the New Scottish Group.
This book reasserts the artist’s place at the forefront of British modernism.
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