William Walls, a notable figure in Scottish art, carved a distinct niche for himself as a painter primarily celebrated for his depictions of animals. Born in Dunfermline, Scotland, in 1860, Walls' artistic journey spanned a period of significant artistic evolution, yet he maintained a consistent and personal approach to his subject matter. His death in 1942 marked the end of a career dedicated to capturing the essence of the animal world, both wild and domestic, through the mediums of oil and watercolour.
Early Life and Artistic Formation
The formative years of an artist often lay the groundwork for their future trajectory, and for William Walls, this was no exception. While specific details of his earliest artistic inclinations are not extensively documented, his commitment to the craft led him to seek formal training. A pivotal period in his development was his time spent studying in Antwerp, Belgium. The Royal Academy of Fine Arts in Antwerp was a significant draw for many international artists during the 19th century, known for its rigorous academic training, which often emphasized strong draughtsmanship and a deep understanding of form and technique.
This experience abroad would have exposed Walls to a broader European artistic milieu, distinct from the prevailing trends in Britain at the time. It's noted that he was a contemporary of fellow Scottish artist George Smith (1870-1934), who also pursued studies in Antwerp. Such shared experiences often foster a sense of camaraderie and mutual influence among artists, even if their styles eventually diverge. The continental training likely imbued Walls with a disciplined approach to his art, which would become evident in the careful observation and rendering of his animal subjects.
Artistic Style and Thematic Focus
William Walls is primarily recognized as an animal painter. His oeuvre demonstrates a profound interest in and empathy for his subjects, ranging from majestic wild creatures to familiar domestic animals. Unlike some of his contemporaries who might have favored more dramatic or sentimental portrayals, Walls' work is often characterized by a more restrained and observational quality.
A key aspect of his style was a subtle and considered use of colour. Sources suggest he leaned towards achieving effects through tonal values rather than a vibrant or extensive palette. This emphasis on tone – the relative lightness or darkness of colours – can create a sophisticated sense of atmosphere, depth, and form. Such an approach might have been reinforced by his Antwerp training, where an understanding of chiaroscuro and tonal harmony was often stressed. His work possessed a "distinct personal style," indicating that while he absorbed academic principles, he adapted them to his own artistic vision.
His dedication to animal subjects was comprehensive. While he might have initially studied animals in menageries or zoos, a common practice for animaliers of the period, it was his depictions of animals in more naturalistic or thoughtfully composed settings that defined his contribution. He didn't just paint generic representations; he aimed to capture the specific character and vitality of each creature.
Representative Works
Several works by William Walls provide insight into his artistic practice and thematic concerns. These pieces, often appearing in auction records, help to build a picture of his output.
One such example is "Glen Imaal Terrier," an oil painting dated 1910, measuring approximately 11 x 15 inches (28 x 38 cm). This work showcases his ability to capture the spirit of a specific dog breed. The Glen Imaal Terrier is a hardy Irish breed, and Walls would have likely focused on conveying its characteristic tenacity and appearance. The choice of oil paint allowed for a richness of texture and depth, suitable for rendering the dog's coat and form. The signature and date affirm its authenticity and place it within a mature phase of his career.
Another documented piece is "A Pair of Silkie Hens," an oil sketch from 1902, with dimensions of 16 x 20.5 cm. The term "sketch" suggests a work that might be more spontaneous or preparatory, yet it still reflects his interest in domestic fowl. Silkie hens, with their distinctive fluffy plumage, offer a unique textural challenge for a painter, and Walls' decision to depict them indicates his broad interest in animal forms.
Walls also worked in watercolour, as evidenced by a piece titled "Sunlit Hills." This work, measuring 18 x 25 cm, is signed and bears the letters "RSA," indicating his affiliation with the Royal Scottish Academy. While the subject is a landscape, it complements his animal paintings by showing his handling of light and atmosphere, crucial elements in placing animals within their environments. The "sunlit" aspect suggests an exploration of light effects, consistent with an artist attuned to tonal variations. An oil painting titled "The Highlands" further points to his engagement with the Scottish landscape, the natural habitat for many of the wild animals he might have been drawn to.
These examples, though drawn from auction listings, highlight his versatility in medium (oil and watercolour), his consistent focus on animals (both domestic and, by implication through landscape, wild), and his professional recognition (RSA).
Exhibitions and Professional Recognition
An artist's participation in exhibitions is a key indicator of their engagement with the contemporary art world and their professional standing. William Walls was a member of the Royal Scottish Academy (RSA), a prestigious institution that has been central to the Scottish art scene since its founding in 1826. Membership in the RSA signifies a high level of peer recognition and provides artists with a prominent platform to showcase their work. His use of "RSA" after his signature on "Sunlit Hills" confirms this affiliation.
Furthermore, Walls' work gained international exposure through his participation in the Venice Biennale. The Venice Biennale, established in 1895, quickly became one of the most important international contemporary visual art exhibitions. For a Scottish artist of that era to exhibit in Venice was a significant achievement, placing his work before a global audience and alongside artists from many other nations. This suggests that his animal paintings, with their distinct style, found appreciation beyond the borders of Scotland and the United Kingdom.
The continued appearance of his works in art auctions, with estimates ranging from modest sums for watercolours and sketches to more substantial figures for oil paintings like "Glen Imaal Terrier," indicates an ongoing, albeit perhaps specialist, market interest in his art. This posthumous presence in the art market helps to keep his name and work in circulation.
The Context of Scottish and British Animal Painting
To fully appreciate William Walls' contribution, it's useful to consider him within the broader context of Scottish and British art, particularly the genre of animal painting, during the late 19th and early 20th centuries. Animal painting had a rich tradition in Britain. The preceding generation had been dominated by figures like Sir Edwin Landseer (1802-1873), whose dramatic and often anthropomorphic depictions of animals, especially stags and dogs, were immensely popular in the Victorian era. Landseer's influence was pervasive, setting a high bar for subsequent animal painters.
By the time Walls was active, new artistic currents were emerging. In Scotland, the Glasgow Boys, a group including artists like James Guthrie (1859-1930), John Lavery (1856-1941), George Henry (1858-1943), and E.A. Hornel (1864-1933), were challenging academic conventions with their embrace of realism and plein-air painting, often influenced by French Naturalism. While Walls' primary focus was animals, the general artistic environment in Scotland was one of innovation and a desire to establish a distinctly Scottish voice in art.
Within animal painting itself, there were artists who pursued different approaches. Joseph Crawhall II (1861-1913), another prominent Scottish animal painter and one of the Glasgow Boys, was known for his impressionistic and highly economical watercolours and gouaches, often depicting birds and animals with remarkable vitality and freshness. Edwin Alexander (1870-1926), son of the artist Robert Alexander, was also a noted Scottish painter of animals and birds, particularly in watercolour, known for his delicate and precise renderings. George Denholm Armour (1864-1949), also Scottish, was renowned for his equestrian and hunting scenes, capturing the movement and energy of horses and hounds.
In England, Briton Rivière (1840-1920) continued the tradition of animal painting with a strong narrative and emotional component, often featuring classical or historical themes involving animals. The late Victorian and Edwardian periods saw a continued public appetite for animal art, but artists like Walls, with his more restrained and tonally focused style, offered a different perspective compared to the high drama of Landseer or the more illustrative qualities of some contemporaries.
Walls' decision to study in Antwerp, rather than perhaps Paris which attracted many of the Glasgow Boys, might also have set his development on a slightly different path, perhaps one more grounded in the Northern European realist traditions. His focus on the "subject itself or its human relations and associations," as one source vaguely puts it when discussing the impact of Antwerp training, suggests an art that was less about overt storytelling and more about the intrinsic qualities of the animal and its presence.
The art world Walls inhabited was diverse. While Impressionism had made its mark and Post-Impressionist ideas were beginning to filter through, more traditional forms of representation, especially in genres like animal painting and portraiture, remained strong. Artists like John Singer Sargent (1856-1925), an American expatriate who achieved great success in Britain, exemplified a virtuosic, painterly realism in portraiture. In landscape, Scottish artists like William McTaggart (1835-1910) were developing their own expressive responses to the natural world.
Walls' dedication to animal subjects, combined with his distinct stylistic traits – the emphasis on tone, the personal vision – allowed him to create a body of work that, while perhaps not as revolutionary as some of his avant-garde contemporaries, held its own through its sincerity and skilled execution. He was part of a continuing lineage of artists fascinated by the animal kingdom, each bringing their unique perspective. His connection to the Royal Scottish Academy and his participation in the Venice Biennale demonstrate that he was a respected professional within this tradition.
Legacy and Conclusion
William Walls (1860-1942) remains a figure of interest primarily for his contributions to animal painting in Scotland. His work, characterized by careful observation, a restrained palette often emphasizing tonal harmonies, and a distinct personal style, offers a window into the artistic practices of the late 19th and early 20th centuries. His training in Antwerp provided a solid foundation, which he adapted to his particular thematic interests.
His known works, such as "Glen Imaal Terrier" and "A Pair of Silkie Hens," showcase his skill in capturing the likeness and character of his animal subjects. His landscape work, like "Sunlit Hills," further demonstrates his sensitivity to light and atmosphere. As a member of the Royal Scottish Academy and an exhibitor at the Venice Biennale, Walls achieved a notable level of professional recognition both domestically and internationally.
While he may not be as widely known today as some of the more radical innovators of his time, William Walls represents an important strand of Scottish art. He dedicated his career to the often-demanding genre of animal painting, approaching his subjects with an integrity and artistic vision that earned him respect. His paintings continue to be appreciated for their quiet skill and their affectionate portrayal of the animal world, securing his place among the notable Scottish painters of his generation. His legacy is that of a dedicated and skilled animalier who contributed thoughtfully to the artistic landscape of his era.
