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拍品专文
Fergusson and his partner, Margaret Morris, a young English dancer whom he met in 1913, settled again in Paris in 1929. The following year he became President of the Groups d'Artistes Anglo-Americans in Paris. Of the four Scottish Colourists, Fergusson was the one who was accepted by the French as one of their own and his reputation was instrumental in bringing about the success of the Paris exhibition in 1931 of Les Peintres Ecossais.
Morris enjoyed success after the war, running a series of annual summer schools in various resorts in France, some in the South and others in Normandy. An attraction for the rich and fashionable at the end of the nineteenth century, the fortified town of Dinard became a favourite coastal haunt for Fergusson and Morris. Fergusson accompanied her and it suited him well to be painting Margaret's dancers outdoors on the beaches and in the gardens where she held her classes.
Dinard, The Town has many elements which subtly come together to form an expansive visual feast. Fergusson has captured the essence of the clear sharp light particular to this area tempered by the paler but nevertheless refreshing colours. What is surprising is the movement and rhythm in the trees and their fronds, which seem in places to echo the shapes of the bulbous clouds in the background. The delicate colouring of rose pinks and subtle mauves recall the pictures painted by Fergusson and S.J. Peploe around 1910, when as young students they had travelled to the same area to paint. By the time of the present work, Fergusson's style had become more sophisticated and abstracted: the geometric lines of the fortified town contrast with the softly painted clouds and the rhythmic shapes of the trees.
Reducing the view to the now familiar shapes, objects and colours where the clouds have as much form as the town or the trees, there is an animated suggestion of dancers in the form of the trees in the foreground. Fergusson's later paintings exquisitely exude the serenity and quiet confidence of the mature master. He has built upon Cézanne's challenging and hugely influential theories from the beginning of the century, which form the bridge between late 19th century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. Notable in Dinard, The Town is Fergusson's particular vision which recalls Cézanne's often repetitive, exploratory brushstrokes. Planes of colour and small brushstrokes are used to build up and form complex fields.
Morris enjoyed success after the war, running a series of annual summer schools in various resorts in France, some in the South and others in Normandy. An attraction for the rich and fashionable at the end of the nineteenth century, the fortified town of Dinard became a favourite coastal haunt for Fergusson and Morris. Fergusson accompanied her and it suited him well to be painting Margaret's dancers outdoors on the beaches and in the gardens where she held her classes.
Dinard, The Town has many elements which subtly come together to form an expansive visual feast. Fergusson has captured the essence of the clear sharp light particular to this area tempered by the paler but nevertheless refreshing colours. What is surprising is the movement and rhythm in the trees and their fronds, which seem in places to echo the shapes of the bulbous clouds in the background. The delicate colouring of rose pinks and subtle mauves recall the pictures painted by Fergusson and S.J. Peploe around 1910, when as young students they had travelled to the same area to paint. By the time of the present work, Fergusson's style had become more sophisticated and abstracted: the geometric lines of the fortified town contrast with the softly painted clouds and the rhythmic shapes of the trees.
Reducing the view to the now familiar shapes, objects and colours where the clouds have as much form as the town or the trees, there is an animated suggestion of dancers in the form of the trees in the foreground. Fergusson's later paintings exquisitely exude the serenity and quiet confidence of the mature master. He has built upon Cézanne's challenging and hugely influential theories from the beginning of the century, which form the bridge between late 19th century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. Notable in Dinard, The Town is Fergusson's particular vision which recalls Cézanne's often repetitive, exploratory brushstrokes. Planes of colour and small brushstrokes are used to build up and form complex fields.