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The Scottish Colourists The term Scottish Colourist was not publicly used to denote the work of S.J. Peploe, J.D. Fergusson, F.C.B. Cadell and G.L. Hunter until 1948. During their lifetime the four artists only exhibited together on three occasions. They never constituted a movement or school in any formal sense. However, there are good reasons for treating the four artists as a group. They had certain things in common: a distinctive cultural background, a love of travel abroad, and a interest in recent developments in French painting, from Manet and the Impressionists to Cézanne, Matisse and the Fauves and they each grew up in a climate dominated by the Glasgow Boys - a collection of artists, many of them French-trained, whose heightened colour and prominent brushwork had liberated Scottish painting from the confines of traditional academicism. The Scottish Colourists in their turn had a profound impact on later generations of British artists (exhibition catalogue, The Scottish Colourists 1900-1930, Edinburgh, National Galleries of Scotland, 2001, p. 7). PROPERTY OF A PRIVATE COLLECTOR

Samuel John Peploe, R.S.A. (1871-1935)

Figures in a Street, Montmartre

Details

Samuel John Peploe, R.S.A. (1871-1935)
Figures in a Street, Montmartre
signed 'Peploe' (lower right), inscribed and dated 'Paris - 1911' (on the reverse)
oil on board
13¾ x 10¾ in. (35 x 27.3 cm.)

Provenance

with Alex Reid & Lefevre Ltd., London, No. 247/35.
Michael Donald Whyte; Christie's, Glasgow, 6 December 1990, lot 232, where acquired by the present owner.

Special Notice

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Lot Essay

In 1910 Peploe moved from Edinburgh to Paris to join his friend and fellow artist John Duncan Fergusson (see lot 82). In a letter to his wife, Margaret, he wrote of his enthusiasm for Paris and its artistic community, 'There you have the camaraderie, good talk, enthusiasm, you are among people who are in sympathy with you - there is plenty of amusement just merely to sit in a café and watch the people' (quoted in G. Peploe, S.J. Peploe, Edinburgh, 2000, p. 35). In Paris his palette became brighter, and his use of colour to depict the architecture and people was intense and direct.

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