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Lot Essay
In 1907, with his interest in the advancement of contemporary art in Paris and frustration with conservative Scotland, an inheritance following his father’s death in 1906 allowed Fergusson to move to Paris permanently.
Fergusson readily explored the new influences and creative dynamism of the French Capital, mixing with some of the greatest French avant-garde artists of the day such as Henri Matisse and André Derain. In common with these artists, Fergusson sought to develop the properties of colour, volume and line, and to do so through the subject matter of modern day Parisian life. He was particularly impacted by the bright use of colour and free unrefined brush strokes of the Fauves who were well established as the leaders of the Parisian avant-garde by the time of Fergusson’s arrival. Maintaining his own stylistic preferences, Fergusson tended to use a more muted palette with a focus on thick, fluid oil paint as opposed to the sparse application and areas of exposed canvas enjoyed by the Fauves.
Fleurs wonderfully epitomises the dramatic effect the European influences had on Fergusson’s work: a lighter palette, flattening of form and a heavy use of outlining in his dark red and blue aesthetic, a stark contrast to his earlier works.
'Well, I was in Paris, without money or rich relations ... but repeatedly encouraged by what someone has called "le bon air de Paris ...". Life was as it should be and I was very happy' (J.D. Fergusson, quoted in J. Geddes and M. Morris, Cafe Drawings in Edwardian Paris from the Sketch-Books of J.D. Fergusson, Glasgow, 1974, p. 8).
Fergusson readily explored the new influences and creative dynamism of the French Capital, mixing with some of the greatest French avant-garde artists of the day such as Henri Matisse and André Derain. In common with these artists, Fergusson sought to develop the properties of colour, volume and line, and to do so through the subject matter of modern day Parisian life. He was particularly impacted by the bright use of colour and free unrefined brush strokes of the Fauves who were well established as the leaders of the Parisian avant-garde by the time of Fergusson’s arrival. Maintaining his own stylistic preferences, Fergusson tended to use a more muted palette with a focus on thick, fluid oil paint as opposed to the sparse application and areas of exposed canvas enjoyed by the Fauves.
Fleurs wonderfully epitomises the dramatic effect the European influences had on Fergusson’s work: a lighter palette, flattening of form and a heavy use of outlining in his dark red and blue aesthetic, a stark contrast to his earlier works.
'Well, I was in Paris, without money or rich relations ... but repeatedly encouraged by what someone has called "le bon air de Paris ...". Life was as it should be and I was very happy' (J.D. Fergusson, quoted in J. Geddes and M. Morris, Cafe Drawings in Edwardian Paris from the Sketch-Books of J.D. Fergusson, Glasgow, 1974, p. 8).