Sir William MacTaggart (1903-1981) Scottish Modernist

Past President of the Royal Scottish Academy

Sir William MacTaggart was a pivotal figure in 20th-century Scottish art, known for his expressive landscapes, richly coloured still lifes, and his leadership within the Edinburgh School. Born into a lineage of artistic distinction, MacTaggart carried forward the legacy of his grandfather, the celebrated Victorian landscape painter William McTaggart, while forging a modernist path of his own.

Early Life and Education

Born on 15 May 1903 in Loanhead, Midlothian, MacTaggart was the son of Hugh Holmes MacTaggart, an engineer and partner in the firm MacTaggart Scott & Co. His early life was shaped by recurring health issues, which led to a largely private education and frequent travel to warmer climates for convalescence—particularly the south of France. These formative experiences would later influence both the palette and temperament of his work.

He enrolled at the Edinburgh College of Art in 1918, where he studied until 1921. There, he formed lifelong friendships with fellow artists William Gillies, William Geissler, Anne Redpath, John Maxwell, William Crozier, and Adam Bruce Thomson. Together, they would become central to what is now known as the Edinburgh School, a loosely affiliated group of modernist painters who blended Scottish traditions with European influences.

Artistic Development and Influences

MacTaggart’s early work was deeply influenced by his grandfather’s romantic landscapes, but he soon developed a more expressive and experimental style. His travels to France exposed him to the work of Georges Rouault, whose emotive use of colour and bold outlines left a lasting impression. Later, the psychological intensity of Edvard Munch and the colour sensibilities of German Expressionists such as Emil Nolde would further shape his aesthetic.

His palette evolved from the sun-drenched tones of southern France to a more brooding, jewel-toned spectrum—likened by his biographer H. Harvey Wood to the glow of medieval stained glass. This shift reflected a growing interest in mood and atmosphere over strict representation, a hallmark of his mature work.

Career and Recognition

MacTaggart began exhibiting in the late 1920s, joining the Society of Eight in 1927 and holding his first solo show two years later. He taught at the Edinburgh College of Art from 1933 to 1958 and served as President of the Society of Scottish Artists (1933–1936) and later the Royal Scottish Academy (1959–1969). He was knighted in 1962 and elected a Fellow of the Royal Society of Edinburgh in 1967.

As President of the RSA, MacTaggart was instrumental in modernising the institution. He championed international exhibitions, bringing works by Braque, Modigliani, and the Blaue Reiter group to Scottish audiences. His tenure is remembered for its energy, diplomacy, and commitment to broadening the scope of Scottish art.

Peers, Friends, and the Edinburgh School

MacTaggart’s artistic circle was both intimate and influential. He shared a studio with William Gillies in the 1930s and maintained close ties with John Maxwell and Anne Redpath. These artists, while stylistically diverse, shared a commitment to colour, form, and a distinctly Scottish interpretation of European modernism. His friendship with William Crozier was particularly formative; the two travelled together to France, where they painted and recuperated.

Family Life

In 1937, MacTaggart married Fanny Margaretha Basilier Aavatsmark, a Norwegian. Their marriage reflected his deep affinity for Nordic culture, which also influenced his artistic sensibilities. The couple lived in Edinburgh and later in Loanhead, where MacTaggart continued to paint until his death in 1981.

Art Market and Legacy

MacTaggart’s work remains highly collectible, particularly among connoisseurs of Scottish modernism. Prices typically range from £1,000 to £6,000, with standout works—particularly those from his mature period—commanding higher figures.

His market is supported by institutions such as the National Galleries of Scotland, the Tate, and the Royal Academy, all of which hold his work in their permanent collections. The Scottish Gallery in Edinburgh has also played a key role in promoting his legacy through exhibitions and sales.

Current Trends and Market Position

There has been a renewed interest in MacTaggart’s work in recent years, driven by a broader reassessment of mid-century Scottish art. Collectors are drawn to his expressive brushwork, emotive colour palette, and the historical significance of his role in the Edinburgh School. His works are particularly sought after in the UK, with growing interest from international buyers, especially in the US and Scandinavia.

Sir William MacTaggart was more than a painter; he was a bridge between tradition and modernity, between Scottish romanticism and European expressionism. His work continues to resonate for its emotional depth, technical mastery, and cultural significance. Whether viewed in a museum or acquired at auction, a MacTaggart painting offers not just visual pleasure but a window into the evolving identity of 20th-century Scottish art.

NOTE: The spelling of his surname differs from that of his grandfather, being “MacT” instead of “McT”.

Sources: www.artbiogs.co.uk