James Watterston Herald (1859-1914) stands as a significant yet somewhat enigmatic figure in the landscape of Scottish art at the turn of the 20th century. Renowned primarily for his evocative watercolours and pastels, Herald developed a distinctive style characterized by atmospheric depth, a masterful handling of light, and a unique "wet" technique that lent his works a shimmering, often melancholic beauty. Though he remained largely outside the mainstream art establishment during his lifetime, his posthumous reputation has grown, securing his place as a highly individualistic talent within the rich tradition of Scottish painting.
Early Life and Artistic Awakening in Forfar and Dundee
James Watterston Herald was born in Forfar, Angus, Scotland, in 1859. His father was a local shoemaker, and Herald grew up in an environment perhaps distant from the formal art world, yet he displayed a natural inclination towards drawing and observation from a young age. Recognizing his burgeoning talent, his family supported his artistic pursuits. By the age of fourteen, he was enrolled in the art classes at the High School of Dundee, a significant step towards a formal artistic education.
In Dundee, Herald came under the tutelage of Master Kennedy, an instructor who clearly recognized the young artist's potential. Herald excelled in his studies, demonstrating a particular aptitude for drawing. His dedication and skill were formally acknowledged when, at the age of nineteen, he was awarded a prize for excellence in drawing. During these formative years, he also honed his skills by sketching local personalities and the customers who frequented his father's shop, developing an early facility for capturing likeness and character.
Forging an Identity: Edinburgh, London, and Early Recognition
Following his education in Dundee, Herald sought broader horizons to develop his art. Like many aspiring Scottish artists of his generation, he was drawn to the major artistic centres. He spent time in Edinburgh, immersing himself in the city's vibrant artistic scene and visiting numerous exhibitions. The historic architecture and atmospheric closes of Edinburgh's Old Town provided rich inspiration, leading to a body of work that began to attract critical notice.
His ambition also led him to London, the heart of the British art world. Here, Herald continued to refine his skills, focusing particularly on capturing the nuances of urban life and cityscapes. His sensitive portrayals of the city, likely imbued with his developing interest in light and atmosphere, gained recognition. Significantly, his work was accepted for exhibition at the prestigious Royal Scottish Academy (RSA) in Edinburgh, an important validation for a young artist. This early success suggested a promising career within the established structures of the art world, rubbing shoulders with acclaimed RSA members like Sir William Quiller Orchardson or Sir George Reid.
The Arbroath Period: Maturity and Solitude
Despite achieving a measure of recognition in London and Edinburgh, Herald ultimately chose a different path. In 1901, he returned to Scotland, but not to the bustling art centres of Glasgow or Edinburgh. Instead, he settled in the coastal town of Arbroath, also in his native Angus. This move marked the beginning of what is often referred to as his "Arbroath period," a phase of artistic maturity where his signature style fully coalesced.
Life in Arbroath offered Herald a degree of seclusion, which seemed to suit his increasingly solitary and reclusive nature. The harbour, the local architecture, the changing coastal light, and the daily life of the fishing town became central subjects in his work. He found inspiration in the atmospheric conditions of the east coast – the haar (sea mist), the rain-slicked streets, the twilight glow over the harbour – which perfectly suited his technical preoccupations with capturing transient effects of light and moisture.
During his time in Arbroath, Herald was not entirely isolated. He formed connections with other local artists, notably J.T. Ewen and Henry Taylor Wyse. Together, they represented a small hub of artistic activity on the east coast, distinct from the dominant trends emerging from Glasgow or Edinburgh. This period saw Herald producing some of his most characteristic and highly regarded works, deeply rooted in the specific environment he had chosen as his home.
Artistic Technique: The Poetry of Watercolour and Pastel
Herald's reputation rests significantly on his distinctive handling of watercolour and pastel. He became particularly known for his "wet" or "moist" watercolour technique. This involved working with fluid washes of colour, often on damp paper, allowing pigments to bleed and blend in suggestive ways. This method was ideal for creating atmospheric effects – the haze of dusk, the reflections on wet pavement, the soft diffusion of light through mist or rain.
His technique often resulted in a mottled or blotchy texture, far removed from the precise rendering favoured by more traditional watercolourists. Instead, Herald sought evocation and mood. He masterfully manipulated the fluidity of the medium to suggest form and space, using suggestive brushstrokes rather than tight delineation. Light was a primary concern; he excelled at depicting scenes under specific lighting conditions, such as twilight parks, gas-lit streets, or harbours at dawn or dusk, capturing the subtle gradations and colourful interplay of light and shadow.
Herald was also a skilled pastellist. He employed crayon and pastel with a similar fluidity and emphasis on light and atmosphere. His pastel works often share the same subject matter as his watercolours – urban scenes, landscapes, figurative studies – and possess a comparable luminous quality. His skill in these media led to favourable comparisons with some of the leading artists of his time. His mastery of atmospheric watercolour drew parallels with Arthur Melville, another Scottish artist renowned for his bold and innovative watercolour techniques, particularly those developed during his travels in the Middle East. Herald's sensitive handling of pastel and his focus on tonal harmonies echoed aspects of the work of James McNeill Whistler, a towering figure associated with the Aesthetic Movement and known for his atmospheric "Nocturnes."
Signature Themes and Subjects
Throughout his career, Herald explored a consistent range of subjects, filtering them through his unique stylistic lens. Urban scenes were a recurring motif, from his early depictions of Edinburgh's closes to later views of Arbroath's streets and harbour. He was particularly drawn to moments where weather and light transformed the mundane: rain-swept streets reflecting gaslight, parks veiled in twilight, bustling harbours under dramatic skies. These scenes allowed him to fully exploit his technical facility for rendering atmosphere and luminosity.
Beyond cityscapes and townscapes, Herald also developed an interest in depicting crowds and public gatherings. Scenes featuring groups of people, perhaps at markets, fairs, or even circuses, became part of his repertoire in his later years. These works allowed him to explore complex compositions and capture the energy of communal life, albeit rendered with his characteristic atmospheric softness rather than sharp social realism.
Portraiture also featured in his output, stemming from his early days sketching locals in Forfar. While perhaps less central than his landscape and urban work, his portraits demonstrate his skill in capturing character through his fluid technique. Whether depicting specific individuals or incorporating figures into his broader scenes, Herald treated the human element as integral to the overall mood and atmosphere of his compositions. His work, though focused on specific Scottish locations, achieved a universal appeal through its focus on light, mood, and the transient beauty of everyday moments.
A Solitary Path: Relationships and the Art World
James Watterston Herald’s personality significantly shaped his career trajectory. Described as solitary, reclusive, and perhaps even difficult, he seemed constitutionally averse to the networking and self-promotion often necessary for artistic success. While he associated with artists like J.T. Ewen and Henry Taylor Wyse in Arbroath, these relationships were complex. Ewen and Wyse recognized Herald's talent and made efforts to promote his work and integrate him more into the art community.
One notable collaborative effort was the founding of an art journal titled Imprints. The publication aimed to showcase the talents of artists working on Scotland's east coast, providing a platform outside the established centres. However, the venture was short-lived, reportedly hampered by Herald's lack of organizational skills and perhaps his general disinterest in such promotional activities. There were also instances of artistic friction; Herald was apparently critical of some of Wyse's more experimental printing techniques, revealing a strong-mindedness about artistic standards that could complicate collaboration.
His reluctance to engage fully with the art world mechanisms – the galleries, the societies, the critics – meant that he never achieved the level of fame or commercial success enjoyed by some of his contemporaries during his lifetime. While his talent was recognized by discerning peers – Edward Arthur Walton, a prominent member of the influential 'Glasgow Boys' collective (which also included figures like James Guthrie, John Lavery, George Henry, and E. A. Hornel), reportedly praised his work – Herald remained on the periphery. His path contrasts sharply with the more socially integrated and commercially savvy Glasgow Boys, or even with earlier successful Scottish landscape and watercolour painters like William McTaggart or Sam Bough. Herald seemed content, or perhaps resigned, to focus purely on his art in the relative isolation of Arbroath.
Legacy and Art Historical Significance
James Watterston Herald died in 1914 at the relatively young age of 55. During his lifetime, his reputation was largely confined to a circle of admirers and fellow artists who appreciated the unique quality of his work. He did not achieve widespread fame or financial security through his art. However, in the decades following his death, his artistic stature has steadily grown. His work began to be reassessed, and his unique contribution to Scottish art gained wider recognition.
Today, Herald is regarded as one of Scotland's most individualistic and accomplished watercolourists of his era. His innovative "wet" technique and his profound sensitivity to light and atmosphere mark him out. He successfully forged a personal style that was not derivative of prevailing trends, whether the detailed realism of traditional Victorian painting or the bolder stylistic experiments of the Glasgow School or the Scottish Colourists who followed. His ability to capture the specific moods of Scottish urban and coastal environments remains compelling.
His work is now represented in major public collections in Scotland, including the National Galleries of Scotland and Dundee Art Galleries and Museums (The McManus). His paintings are also cherished in numerous private collections, testament to their enduring appeal, particularly within Scotland where they were widely collected by families. While comparisons to major figures like Arthur Melville and Whistler highlight the calibre of his technical skill, Herald's ultimate significance lies in the unique poetic vision he brought to his chosen subjects, creating a body of work that continues to resonate with viewers through its quiet beauty and atmospheric depth. He remains a testament to the power of individual artistic vision pursued with integrity, even in the absence of contemporary fame.
Conclusion
James Watterston Herald offers a fascinating case study of an artist driven by a singular vision. From his early training in Dundee to his mature years in Arbroath, he remained dedicated to exploring the expressive possibilities of watercolour and pastel, particularly in capturing the elusive qualities of light and atmosphere. His "wet" technique, his focus on evocative urban and coastal scenes, and his subtle use of colour define his unique contribution. Though his reclusive nature may have limited his contemporary recognition, his art has endured, securing his position as a master of mood and a significant figure within the rich tapestry of Scottish painting at the turn of the 20th century. His work continues to enchant, offering quiet, luminous glimpses into the soul of Scotland's towns and landscapes.
