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fergusson held his first one-man-show with the Baillie Galleries in london in 1905 and of the fifty-six works exhibited, sixteen were paintings of Paris Plage. In the catalogue was reproduced what would today be called an artist statement: “he (the artist) is trying for truth, for reality through light. that to the realist in painting, light is the mystery; for form and colour which are the painter’s only means of representing life, exist only on account of light.” the success of this exhibition and excellent critical appraisal, not least from haldane Mcfall in The Studio, gave him the impetus to plan a permanent move to france. his father died the next year and despite a small inheritance he was, in addition, obliged to sell his gold watch, a complete set of Beardsley’s The Yellow Book and some furniture. fergusson was ideally placed to take advantage of the opportunities that a move to Paris would present: he was independent, confident, rebellious and firmly focused on his own artistic agenda. But at the same time he was quite open to change, to new ideas and experiences. the date for our picture is 1904, and it could well have been in the exhibition the following year (Blyth acquired it from the scottish Gallery in 1949). the edwardian resort of Paris Plage (see note on page 65) provided a range of subject matter for both Peploe and fergusson and the bustle of the streets behind was a favourite. Both painters would wait a year or two before using a palette which would ally them with european fauvism but already the freedom of application, with strong colour notes – a sort of Whistlerian Impressionism – makes these exciting small panels unique in British painting. 70
JD fergusson (1874–1961) Paris Plage, 1904 oil on panel, 19 x 24 cms signed verso exhibited: aitken Dott & son, the scottish Gallery, 1949 (no.23) 71
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the taste of JW Blyth
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Foreword Michael Portillo I knew my
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elevation plan to Wilby house, 1909
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Collecting Blyth kept a simple reco
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the hawcklymuir factory, Kirkcaldy
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and Explanatory Notes on the Art of
Page 15 and 16:
Peploe in terms of colour: ‘altho
Page 17 and 18:
Blyth’s conversion was certainly
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Trouville Harbour and Deauville (pa
Page 22 and 23:
Most contemporary publications, exh
Page 24 and 25: a warning of what we have escaped i
Page 26 and 27: Vale “No plans were ever made for
Page 28 and 29: catalogue Eugène Boudin was born i
Page 30 and 31: “everything that is painted on th
Page 32 and 33: Wintour was born in Edinburgh and a
Page 34 and 35: Two years senior to his great frien
Page 36 and 37: Paintings by William McTaggart, R.S
Page 38 and 39: there are a number of pictures of R
Page 40 and 41: In July 1947 Blyth bought a picture
Page 42 and 43: “The remarkable place which he ho
Page 44 and 45: “To few men has a more beautiful
Page 46 and 47: Wingate’s first arran subject exh
Page 48 and 49: Wingate’s Farm seems close in spi
Page 50 and 51: Alexander was born in Edinburgh, so
Page 52 and 53: edwin alexander (1870-1926) Moorlan
Page 54 and 55: edwin alexander (1870-1926) Doves a
Page 56 and 57: edwin alexander (1870-1926) Gullane
Page 58 and 59: edwin alexander (1870-1926) Storeho
Page 61 and 62: s.J. Peploe (1871-1935) The Lobster
Page 64 and 65: Peploe is strongly associated with
Page 66 and 67: Comrie is a village on the River ea
Page 68 and 69: s.J. Peploe (1871-1935) Paris Plage
Page 70 and 71: s.J. Peploe (1871-1935) Royan, 1910
Page 72 and 73: Peploe began to visit the south-wes
Page 76 and 77: Blyth bought three hunters the othe
Page 78 and 79: Grant first visited Cassis in 1927
Page 80 and 81: Lily McDougall was born in Glasgow
Page 82: Walter Richard Sickert was born in
Page 85 and 86: Walter Richard sickert (1860-1942)
Page 87 and 88: ernest stephen lumsden (1883-1948)
Page 89 and 90: James McBey (1883-1959) Venice Gran
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