Ernest Archibald Taylor (1874-1951) stands as a significant, if sometimes overlooked, figure in the rich tapestry of early 20th-century Scottish art and design. A man of diverse talents, Taylor excelled as a painter, printmaker, furniture designer, interior decorator, and stained-glass artist. His career traversed several key artistic movements and geographical locations, from the vibrant hub of Glasgow during the height of the "Glasgow Style" to the avant-garde circles of Paris, and finally to the tranquil artist communities of rural Scotland. His work, characterized by a refined aesthetic, innovative design, and a sensitive use of colour, reflects a deep engagement with the artistic currents of his time while retaining a distinct personal vision.
Early Life and Artistic Awakening in Glasgow
Born in Greenock, near Glasgow, in 1874, Ernest Archibald Taylor came of age during a period of immense artistic ferment in the city. He received his formal artistic training at the prestigious Glasgow School of Art, an institution that was then a crucible of innovation, famously associated with Charles Rennie Mackintosh and "The Four" (Mackintosh, Margaret Macdonald, Frances Macdonald, and Herbert MacNair). While direct mentorship details are scarce, the environment itself was profoundly influential. The Glasgow School of Art fostered a holistic approach to art and design, encouraging students to explore various mediums and to blur the lines between fine and applied arts.
This educational ethos undoubtedly shaped Taylor's multifaceted career. He absorbed the prevailing Glasgow Style, a unique Scottish interpretation of Art Nouveau, characterized by its elegant linearity, stylized natural forms, and often symbolic or mystical undertones. Artists like Jessie M. King, who would later become his wife, George Logan, and Talwin Morris, the influential art director for the publisher Blackie & Son, were all part of this dynamic milieu, contributing to a distinctive visual language that gained international recognition. Taylor's early development was steeped in this atmosphere of creative exploration and high craftsmanship.
A Flourishing Talent in Furniture and Design
Upon completing his studies, Taylor quickly established himself as a gifted designer. He joined the renowned Glasgow firm of Wylie & Lochhead, one of the leading furniture manufacturers and retailers in Scotland. Wylie & Lochhead were notable for employing talented designers to create modern, artistic furniture that appealed to a discerning clientele. Taylor's contributions to the firm in the early 1900s were significant, producing pieces that exemplified the elegance and innovative spirit of the Glasgow Style.
His furniture designs often featured refined proportions, subtle inlays, and carefully considered decorative motifs, sometimes incorporating stylized floral or organic forms. An exemplary piece from this period is the "Arts and Crafts Sideboard" in oak, designed for Ellel Hall, which showcases his mastery of form and material. His work for Wylie & Lochhead placed him in the company of other notable designers associated with the firm, such as George Walton and E.A. Walton, who also played crucial roles in defining the aesthetic of Scottish Art Nouveau furniture. Taylor's approach combined functionality with artistic expression, aligning with the broader Arts and Crafts philosophy championed by figures like William Morris and C.R. Ashbee in England, which advocated for the revival of craftsmanship and the integration of art into everyday life.
Mastery of Light and Colour: Stained Glass
Beyond furniture, Ernest Archibald Taylor demonstrated considerable skill in the art of stained glass. This medium, with its interplay of light, colour, and line, provided another avenue for his decorative talents. For a period, he managed and designed for George Wragge Ltd., a firm based in Manchester and London known for its high-quality decorative metalwork and stained glass. Taylor's designs for stained glass would have drawn upon his painterly sensibilities and his understanding of pattern and composition.
His stained glass work, like his furniture, likely reflected the prevailing Art Nouveau and Glasgow Style aesthetics, possibly featuring elongated figures, flowing lines, and a sophisticated colour palette. While specific widely-known examples of his stained glass for Wragge are less documented than his furniture, his involvement with such a reputable firm underscores his versatility and the esteem in which his design capabilities were held. The tradition of stained glass was undergoing a revival at this time, with artists like Christopher Whall in England and Louis Comfort Tiffany in America pushing the boundaries of the medium. Taylor's contributions would have been part of this broader resurgence of interest in decorative glass.
The Parisian Sojourn and the Shearling Atelier
In 1908, Ernest Archibald Taylor married the celebrated artist and illustrator Jessie M. King, a leading figure of the Glasgow School whose delicate, fairy-tale illustrations had already garnered her international acclaim. This union marked the beginning of a lifelong personal and artistic partnership. Two years later, in 1910, the couple moved to Paris, a city that was then the undisputed epicentre of the art world, teeming with avant-garde movements and artistic experimentation.
In Paris, Taylor and King established the Shearling Atelier, an art school and design studio. This venture demonstrated their commitment to art education and their desire to engage with the vibrant Parisian art scene. The Shearling Atelier likely offered instruction in a range of disciplines reflecting their own diverse skills, including painting, illustration, and various crafts. Living and working in Paris exposed Taylor to a wealth of new influences, including French modern art movements such as Post-Impressionism and Fauvism, with their emphasis on bold colour and expressive form. Artists like Henri Matisse and André Derain were revolutionizing painting, and their impact was felt across the artistic spectrum.
A particularly potent influence during their Parisian years was the Ballets Russes, Sergei Diaghilev's revolutionary ballet company. The Ballets Russes captivated Paris with its exotic productions, stunning costumes, and set designs by artists like Léon Bakst and Alexandre Benois. The vibrant colours, dynamic compositions, and theatricality of these productions had a profound impact on fashion, design, and the visual arts, and Taylor's work from this period and later shows an absorption of this heightened sense of colour and decorative flair.
Return to Scotland: Kirkcudbright and Artistic Communities
The outbreak of World War I in 1914 compelled Ernest Archibald Taylor and Jessie M. King to leave Paris and return to Scotland. They eventually settled in Kirkcudbright, a picturesque town in Dumfries and Galloway that had become a haven for artists. Kirkcudbright was already home to a burgeoning artists' colony, attracted by its beautiful scenery and supportive atmosphere. Figures like E.A. Hornel, one of the original "Glasgow Boys," had long been established there, and the town drew many other artists, including Charles Oppenheimer and William Mouncey.
In this congenial environment, Taylor and King continued their artistic pursuits and their commitment to education. They established another school in High Corrie on the Isle of Arran, further contributing to the artistic life of Scotland. Taylor's own painting practice flourished during this period. His landscapes, still lifes, and figurative works often displayed a bright palette and a fluid handling of paint, reflecting the influence of the Scottish Colourists – S.J. Peploe, F.C.B. Cadell, Leslie Hunter, and J.D. Fergusson – who were renowned for their vibrant, light-filled canvases inspired by French Post-Impressionism.
Taylor became an active participant in the Scottish art world, regularly exhibiting his work at major institutions. He showed extensively at the Royal Scottish Academy (RSA) in Edinburgh, the Royal Scottish Society of Painters in Watercolour (RSW), and the Royal Glasgow Institute of the Fine Arts (RGI). These exhibitions would have featured his paintings, watercolours, and possibly designs, showcasing the breadth of his artistic output to a wider public. His membership and participation in these societies solidified his standing within the Scottish artistic establishment.
Diverse Oeuvre: Paintings, Illustrations, and Designs
Ernest Archibald Taylor's oeuvre is marked by its diversity. As a painter, he worked in both oils and watercolours, tackling landscapes, figurative subjects, and still lifes. His style, while rooted in a strong tradition of draughtsmanship, evolved to incorporate a brighter, more expressive use of colour, likely influenced by his time in Paris and his engagement with the work of the Scottish Colourists and French modernists. His watercolours, in particular, often possess a luminous quality and a delicate touch.
In addition to his larger-scale works, Taylor also engaged in illustration and graphic design. He designed book covers, such as the one for "Bal Masque: A Fantasy in One Act," demonstrating his ability to apply his artistic skills to commercial projects. This willingness to work across different formats and for different purposes was characteristic of many artists associated with the Arts and Crafts and Art Nouveau movements, who sought to break down the hierarchy between fine and applied arts. His wife, Jessie M. King, was a prolific illustrator, and their shared interest in this field likely fostered a collaborative or mutually inspiring environment.
While many of his modernist works are reported to have been lost, the surviving pieces and records of his activity attest to a consistently high level of artistry and innovation. His ability to move seamlessly between designing a piece of furniture, a stained-glass window, a book cover, or painting a landscape speaks to a remarkably versatile and integrated artistic vision.
Artistic Influences and Stylistic Hallmarks
Taylor's artistic style was a synthesis of various influences, absorbed and reinterpreted through his own unique sensibility. The foundational influence of the Glasgow Style, with its emphasis on linearity, stylized natural forms, and decorative harmony, remained a constant thread throughout his career, particularly evident in his design work. His time in Paris broadened his horizons, exposing him to the radical colour theories of Fauvism and the decorative exuberance of artists associated with the Ballets Russes.
The impact of the Scottish Colourists is also discernible in his painterly work, particularly in his use of vibrant hues and his expressive handling of paint. These artists, who themselves had strong connections to France, championed a modern approach to painting that prioritized colour and light as primary means of expression. Taylor's engagement with these diverse currents resulted in a style that was both sophisticated and accessible, decorative yet imbued with a strong sense of design. He was not a radical avant-gardist in the mould of Picasso or Braque, but rather an artist who skillfully integrated modern sensibilities with a deep respect for craftsmanship and aesthetic beauty.
Exhibitions, Recognition, and Legacy
Throughout his career, Ernest Archibald Taylor was a consistent exhibitor, ensuring his work was seen by the public and his peers. His participation in the annual exhibitions of the Royal Scottish Academy, the Royal Scottish Society of Painters in Watercolour, and the Royal Glasgow Institute of the Fine Arts was crucial for maintaining his profile and contributing to the contemporary art scene in Scotland. These institutions were, and remain, central to the artistic life of the nation, and regular exhibition there signified a recognized professional standing.
While perhaps not achieving the same level of international fame as his wife, Jessie M. King, or a figure like Charles Rennie Mackintosh, Taylor's contribution to Scottish art and design is undeniable. His work as a designer for Wylie & Lochhead helped to disseminate the Glasgow Style, while his stained glass added to the rich tradition of that craft. His teaching activities, both in Paris with the Shearling Atelier and later in Scotland, played a role in nurturing new talent and fostering artistic communities.
The unfortunate loss of some of his more modernist works makes a complete assessment of his artistic evolution challenging. However, the extant pieces, from elegant furniture to luminous watercolours, reveal an artist of considerable talent, versatility, and refined taste. He successfully navigated the transition from the late Victorian era through the Art Nouveau period and into the early decades of modernism, adapting and evolving while maintaining a distinctive artistic voice.
An Enduring Contribution
Ernest Archibald Taylor passed away in 1951 at the age of 77, leaving behind a legacy as a versatile and accomplished artist-craftsman. His career spanned a period of significant change and innovation in the art world, and he engaged with these developments with intelligence and skill. He was part of a generation of Scottish artists who sought to create a distinctly modern national art, drawing on local traditions while embracing international influences.
His collaborations, most notably with Jessie M. King, and his involvement with firms like Wylie & Lochhead and George Wragge Ltd., highlight his ability to work both independently and as part of larger creative enterprises. His dedication to art education further underscores his commitment to the broader artistic community.
In conclusion, Ernest Archibald Taylor deserves recognition as a key contributor to the Scottish Arts and Crafts movement, the Glasgow Style, and the wider artistic landscape of the early twentieth century. His mastery across multiple disciplines – from the solidity of furniture design to the ethereal beauty of stained glass and the expressive potential of painting – marks him as a truly versatile talent. His life and work offer a fascinating insight into the interconnected worlds of art, design, and craft during a transformative period in European art history, and his creations continue to be appreciated for their elegance, craftsmanship, and enduring aesthetic appeal. His influence, though perhaps quieter than some of his more famous contemporaries like George Henry or E.A. Hornel in their specific fields, was pervasive through his diverse contributions to the visual culture of Scotland.
