. International studio. cott Lauder. Therehe worked in association with Orchardson, Pettie,Paul Chalmers and Hugh Cameron, remaining forseven years under Scott Lauders guiding influenceand also taking some lessons in anatomy. Likeothers of his brither Scots Mr. McTaggart madeexcursions to Ireland, not for the study of landscapebut on portrait painting expeditions to provide thewherewithal to carry on the winter studies in Edin-burgh. It was in the exhibitions of the HibernianSociety in Dublin that Mr. McTaggart first showedexamples of his work, not appearing as an exhibitorin Edinburgh until 1
. International studio. cott Lauder. Therehe worked in association with Orchardson, Pettie,Paul Chalmers and Hugh Cameron, remaining forseven years under Scott Lauders guiding influenceand also taking some lessons in anatomy. Likeothers of his brither Scots Mr. McTaggart madeexcursions to Ireland, not for the study of landscapebut on portrait painting expeditions to provide thewherewithal to carry on the winter studies in Edin-burgh. It was in the exhibitions of the HibernianSociety in Dublin that Mr. McTaggart first showedexamples of his work, not appearing as an exhibitorin Edinburgh until 1855 with portraits in watercolour. Three years afterwards he showed fivesubject pictures, and from then onwards portraituregradually fell into a subsidiary position, thoughnever wholly disappearing from the range of hisart. In i86t, his first landscape, The Cornfield, wasexhibited. It is a noteworthy tribute to the qualityof Mr. McTaggarts work that while still a scholarhe was in 1859 elected an associate of the Academy. PORTRAIT OF WILLIAM MCTAGGART, BY HENRY W. KERR, 83 JVilliam McTaggart, at the same time as J. C. Wintour and HughCameron, both of them artists who afterwardsachieveddistinction. During this period Mr. McTag-gart showed the pre-Raphaelite influence whichis very evident in his Past and Present, painted theyear after he gained associate rank. This influencewas not only manifest in technique, but in theme,and for some years afterwards there was a markedchoice of serious subjects for his genre late in the sixties he continued to show thistendency, though along with it there was develop-ment to a much broader and freer style. Hisdiploma work, Dora, which hangs in the ScottishNational Gallery, has passages of colour andbreadth of treatment in the landscape that indicatethe artistic growth thai was soon to free thepainter from all traditional and scholastic the exhibited Dora was not a first was symptomati
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