John Terris (1865-1914) was a notable Scottish artist who, though his life was relatively short, made a significant mark in the world of watercolour painting during the late Victorian and Edwardian eras. Born in the bustling industrial city of Glasgow, Terris developed a distinct artistic voice, characterized by his masterful use of the watercolour medium, particularly his adeptness with the "wet-on-wet" technique. His works often convey a powerful sense of atmosphere, achieved through bold compositions and a keen eye for dramatic contrasts of light and shadow.
Early Life and Artistic Formation
Born in Glasgow in 1865, John Terris emerged during a period of immense industrial growth and cultural dynamism in Scotland. This environment, with its stark contrasts between urban development and the enduring beauty of the Scottish landscape, likely played a role in shaping his artistic sensibilities. While specific details about his early childhood are not extensively documented, it is known that his formal artistic training took place at the Birmingham School of Art (often referred to in some sources as the Birmingham Royal Landscape Art School or similar, reflecting its strength in this area). This institution was a significant centre for artistic education in England, and it was here that Terris honed his skills, choosing to specialize in landscape painting and, crucially, in the medium of watercolour.
His decision to focus on watercolour was significant. By the late 19th century, watercolour painting in Britain had a rich heritage, building on the legacy of artists like J.M.W. Turner and John Sell Cotman, who had elevated the medium far beyond mere sketching. Terris would have been aware of the Royal Watercolour Society and the Royal Institute of Painters in Water Colours, which championed the medium. His training in Birmingham would have equipped him with the technical proficiency necessary to explore its expressive potential fully.
Artistic Style and Signature Techniques
John Terris became particularly renowned for his distinctive approach to watercolour. He was a proponent of the "wet-on-wet" or "alla prima" (wet-in-wet) technique, where layers of wet paint are applied to either wet or dry paper, allowing colours to blend and bleed into one another, creating soft, diffused edges and a remarkable sense of fluidity. This method is particularly effective for capturing transient effects of light and atmosphere, which were central to Terris's artistic vision.
Contemporaries and later critics noted his use of an almost "square" brush. This choice of tool, differing from the more common pointed brushes for detailed watercolour work, suggests a preference for broader strokes and a more direct, vigorous application of paint. This technique, combined with his wet-on-wet approach, allowed him to build up his compositions with a certain boldness and immediacy.
A hallmark of Terris's style was his creation of "contrasting, dramatic pictures." He was not afraid to use strong tonal variations, juxtaposing dark, shadowy areas with passages of bright light. This created a sense of depth and drama in his landscapes and cityscapes, imbuing them with an emotional resonance. His focus was often on capturing the mood and essence of a scene rather than a meticulously detailed topographical record, aligning him with broader trends in late 19th-century landscape painting that emphasized personal interpretation and atmospheric effect, as seen in the works of some of the Glasgow Boys like James Guthrie or George Henry, though Terris maintained his own distinct style.
Notable Works and Thematic Focus
While a comprehensive catalogue of all his works is not readily available, several key pieces and thematic concerns can be identified. His Scottish heritage is evident in his choice of subjects, particularly those related to his native Glasgow and the surrounding landscapes and coastal scenes.
One of his most recognized works is "The Tolbooth Steeple, The Heart Of Glasgow." This watercolour, heightened with bodycolour (an opaque form of watercolour), measures approximately 75 x 48 cm. The Tolbooth Steeple is an iconic historical landmark in Glasgow, and Terris's depiction likely captured its imposing presence within the urban fabric. The use of bodycolour would have allowed him to add highlights and create more solid forms, enhancing the dramatic interplay of light he favored. This work stands as a testament to his ability to portray architectural subjects with the same atmospheric depth he brought to natural landscapes.
Other works that have appeared in auction records, indicating their circulation and recognition, include "Fishing boats in harbour" and "Catching the early tide." The latter, a watercolour, was notably estimated at a significant price range (£80,000-£120,000) in a past auction, highlighting the value attributed to his more accomplished pieces. These titles suggest a recurring interest in maritime themes – the bustling life of harbours, the interplay of boats, water, and sky, and the specific qualities of light at different times of day, such as the "early tide." Such subjects were popular among many British painters of the era, including artists like William McTaggart, a prominent Scottish seascape and landscape painter known for his expressive, almost impressionistic style.
Terris's landscapes and seascapes often aimed to capture the raw, untamed beauty of nature, as well as the human element within it. His dramatic use of contrast would have been particularly effective in rendering the changeable Scottish weather and the rugged character of its coastline.
Terris in the Context of His Contemporaries
John Terris worked during a vibrant period in British art. In Scotland, the aforementioned Glasgow Boys (including figures like E.A. Hornel, John Lavery, and Arthur Melville) were challenging academic conventions with their embrace of realism, plein air painting, and influences from French art. While Terris's training was in England, his Scottish roots and subject matter place him within this broader Scottish artistic milieu. Arthur Melville, in particular, was also a brilliant watercolourist, known for his innovative techniques and vibrant depictions of scenes from Spain and the Middle East, showcasing the diverse potential of the medium.
In England, the legacy of Victorian landscape painting continued, with artists like Myles Birket Foster having established a popular, if somewhat sentimental, vision of rural life in watercolour. However, newer trends were also emerging. The influence of Impressionism was being felt, and artists were increasingly interested in capturing fleeting moments and the subjective experience of nature. While Terris is not typically classified as an Impressionist, his emphasis on atmosphere and light shares some common ground with these evolving sensibilities. Artists like Hercules Brabazon Brabazon, an older contemporary, produced highly atmospheric and suggestive watercolour landscapes that bordered on abstraction, demonstrating the medium's versatility.
The period also saw a continued flourishing of watercolour societies, which provided exhibition opportunities and fostered a community of practice. Artists like Helen Allingham, known for her charming watercolour depictions of English cottages and gardens, enjoyed considerable popularity, demonstrating the public's enduring affection for the medium. Other notable watercolourists of the general period include Albert Goodwin, who created imaginative and atmospheric landscapes, and Alfred William Rich, who advocated for a return to the traditions of earlier English watercolourists. The critical voice of John Ruskin, though his main influence was slightly earlier, still resonated, having championed the close observation of nature and the expressive power of watercolour.
Terris's commitment to the "wet-on-wet" technique and his bold, dramatic style allowed him to carve out his own niche. He was less concerned with the detailed finish of some Victorian watercolourists and more interested in conveying the essential character and mood of his subjects. His work can be seen as part of a broader movement towards a more expressive and less literal approach to landscape painting that characterized the turn of the century.
Legacy and Market Presence
John Terris's career spanned the transition from the High Victorian era to the early modern period. He died in 1914, the year that marked the beginning of the First World War, an event that would profoundly reshape the cultural and artistic landscape. Despite his relatively early death at the age of 48 or 49, he left behind a body of work that continues to be appreciated.
The presence of his paintings in auction catalogues, as evidenced by sales of "The Tolbooth Steeple, The Heart Of Glasgow" and "Catching the early tide," indicates an ongoing market for his art. The significant estimate for "Catching the early tide" suggests that his finer works are sought after by collectors of Scottish and British watercolour painting. While he may not have achieved the same level of widespread fame as some of his contemporaries like John Singer Sargent (an American but highly influential figure in Britain, also a masterful watercolourist) or leading members of the Glasgow School, Terris is recognized within specialist circles for his technical skill and his evocative, atmospheric style.
Information regarding his works being held in major public museum collections is not as readily available as for some other artists, which might suggest that much of his oeuvre remains in private hands. However, regional galleries in Scotland or England, particularly those with collections of Victorian and Edwardian art, might hold examples of his work. His paintings serve as valuable examples of the Scottish landscape tradition and the versatility of the watercolour medium at the end of the 19th and beginning of the 20th centuries.
Conclusion
John Terris stands as a skilled and expressive interpreter of the Scottish scene, a watercolourist who pushed the medium to achieve dramatic and atmospheric effects. His training in Birmingham provided a solid foundation, but it was his individual vision – his preference for the "wet-on-wet" technique, his use of the "square" brush, and his pursuit of strong contrasts – that defined his artistic identity.
His depictions of Glasgow landmarks like the Tolbooth Steeple, alongside his evocative harbour scenes and landscapes, contribute to our understanding of Scottish art during a period of significant change. While perhaps not a radical innovator in the vein of some avant-garde movements of his time, Terris was a dedicated craftsman who masterfully captured the mood, light, and character of his chosen subjects. His work offers a compelling glimpse into the artistic currents of late Victorian and Edwardian Britain, and he remains a respected figure among aficionados of traditional watercolour painting, particularly those with an interest in the rich artistic heritage of Scotland. His legacy is that of an artist who, with passion and skill, translated the world around him into compelling and enduring images.
