Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 117 works by William McTaggart in our catalogue
In short
Of all the originals William McTaggart left, the most famous is Storm Cloud. Close behind it come A Study of Two Female Nude Models (1858) and A Ground Swell, Carradale, Argyll (1886). Our catalog holds 117 works by William McTaggart; the gallery has kept the 100 the world admires most, each shown with its date, its museum and its story.
William McTaggart's “Storm Cloud” is a captivating exploration of nature’s raw energy and emotional intensity. This work isn’t a literal depiction of a storm, but rather an abstract expressionist interpretation that prioritizes feeling over precise representation. It invites viewers to connect with the primal forces at play in the natural world and within themselves.
In the soft, amber-hued light of a mid-nineteenth-century studio, two women exist in a moment of stillness. One figure stands tall on the left, her back turned to us in a three-quarter view, her form defined by the gentle play of light against skin. To her right, a second woman rests, seated and leaning against a large, terracotta vessel that anchors the composition. The air feels heavy with the scent…
In this 1886 work, we find ourselves looking out over the waters near Carradale, Argyll. The scene is defined by a sense of movement, specifically the restless energy of a ground swell moving through the sea. Several boats are scattered across the composition, some drifting near the shoreline while others appear smaller and more distant as they navigate the expanse. A single figure stands near the center, a small presence…
The oil on canvas work titled A Study of Oak Leaves in Autumn (Self-portrait) was executed by the Scottish artist William McTaggart. Dated 1892, this painting presents a self-portrait of the artist. The subject is depicted as a man with a prominent, well-groomed beard and mustache, wearing a dark hat and a heavy, textured coat. He is positioned in a bust-length composition, looking toward the viewer from a slightly off-center…
The painting depicts a naked man standing in front of a red curtain. The man has his back turned towards the viewer and appears to be looking at something behind him. He is positioned as if holding onto a pole or rod, which may be used for support while posing. The red curtain serves as the background for the scene, providing depth and color.
A Life Study of a Standing Female Nude is an oil study by the artist William McTaggart. This work, dated 1850, focuses on the human form through a study of a standing female nude. The composition centers on a single figure positioned vertically within the frame.
In "Life Study of a Seated Male Nude Holding a Staff" by William McTaggart, a single nude male subject occupies the center of the frame. He is positioned in a three-quarter profile, facing toward the right. A long, diagonal staff cuts across the composition, providing a sharp structural element that breaks the stillness of the figure. This wooden line anchors the subject within a shallow space. The background is a…
The oil on canvas painting titled The Pleasures of Hope was executed by the artist William McTaggart. This work dates to 1860. The artist, who lived from 1835 to 1910, was born in Argyll and Bute, United Kingdom.
The oil painting titled The Past and the Present was executed by the artist William McTaggart. Created in 1860, this work represents an early period in the artist's career. The piece demonstrates McTaggart's developing skill in capturing light and color through a delicate touch.
The Old Net is a painting by William McTaggart, created about 1869. This work emerged during a period when the artist was refining his ability to translate the atmospheric qualities of the Scottish coast onto canvas. It captures a quiet, grounded moment on a shoreline, focusing on the interaction between figures and their environment.
Halfway Home1869 · Scottish National Gallery
12
The Young Fishers1876 · Scottish National Gallery
13
Through Wind and Rain1875
14
The Bait Gatherers1879 · Scottish National Gallery
15
By Summer Seas1890 · Scottish National Gallery
16
Mist Clearing off Mull of Kintyre1890
17
Spring1864 · Scottish National Gallery
18
'The Belle' (The Artist's Daughter, Jean Isobel McTaggart, 1880 - 1955)1885 · Scottish National Gallery
19
Life Study of a Female Nude Model with her Left Arm Raised1859 · Scottish National Gallery
20
The Artist's Mother (Barbara Brodie or Brolochan, Mrs Dugald McTaggart, died 1884)Scottish National Gallery
21
A Sprig Of Heather -
22
The Past And Present
23
Molly, Mary Gavin1874 · Scottish National Gallery
24
When Summer Is In The Prime
25
The Sailing of the Emigrant Ship1895 · Scottish National Gallery
26
Life Study of a Female Nude Model Seated on White Drapery1854 · Scottish National Gallery
27
Life Study Reclining Female Nude1855 · Scottish National Gallery
28
Sketch of a church door1860 · Scottish National Gallery
29
My Boy Tammie1861
30
Life Study of a Seated Nude Male Model1859 · Scottish National Gallery
31
Helping Granny1863
32
Fish from the Boat1868 · Mcmanus: Dundee's Art Galleries And Museums
33
Dora1869
34
Grandmother's Pet1864
35
Do Doggies Gang tae Heaven1867
36
Lucy's Flitting1873
37
A Fresh Breeze1876 · Mcmanus: Dundee's Art Galleries And Museums
38
Jeannie (Miss Jean Halley)1873 · Mcmanus: Dundee's Art Galleries And Museums
39
Mrs Leiper1872 · Scottish National Gallery
40
Summer Sundown - Tir-nan-og1880
41
A Message from the Sea1883 · Dundee Art Gallery And Museum
42
Flotsam and Jetsam1883 · City Art Centre
43
In a Ground Swell1883
44
Mrs William Lawrie1881 · Scottish National Gallery
45
Snow in April1892 · Scottish National Gallery
46
Cornfield, Sandy Dean1891 · Scottish National Gallery
47
A Breezy Day off Campbeltown1886 · The Hunterian Museum and Art Gallery
48
In the Rock Pools1887
49
The Harvest Moon1889
50
Fisher's Landing1887
51
Hayfield, Broomieknowe1889
52
The Emigrants1889
53
Mrs (James Guthrie) Orchar1886 · Mcmanus: Dundee's Art Galleries And Museums
54
Happy Days1886
55
Father is at the Helm1889
56
Jeannie1887 · Mcmanus: Dundee's Art Galleries And Museums
57
The Coming of Saint Columba1895 · Scottish National Gallery
58
Autumn Day, Midlothian1898
59
Sound of Jura1894 · The Hunterian Museum and Art Gallery
60
End of the Links1893
61
The Lilies1896
62
Landscape Sketch, Howgate1895
63
Joseph Henderson1894
64
Harvest at Broomieknowe1896 · Scottish National Gallery
65
Emigrants Leaving the Hebrides1898
66
Golden Grain (also known as Harvester)1894
67
Kinloch Rannoch1893
68
Autumn Evening, Broomieknowe1905 · Scottish National Gallery
69
The White Calm - Ailsa Craig from Port an Righ1901
70
A June Day Crab Catching1903
71
Left in Charge1902
72
Harvest Moon1899 · Scottish National Gallery
73
Lobster Fishers, Machrihanish Bay1901 · University of Dundee
74
Portrait Study of a LadyScottish National Gallery
75
The Silver Sea1907 · The Hunterian Museum and Art Gallery
76
Glenramskill1908
77
Snow in April
78
Running For Shelter
79
Father is at the Helm
80
Mist and Rain, Macrihanish1907
81
Machrihanish Bay1878 · Scottish National Gallery
82
The Sailor's YarnScottish National Gallery
83
Quiet Sunset, MachrihanishScottish National Gallery
84
Winter Wheat
85
A Deserted Rocky Shore
86
And All The Choral Waters Sang
87
On loch fyne
88
Preaching Of St. Columba
89
Flotsam And Jetsam
90
Noontide, Jovie's Neuk
91
And All The Choral Waters Sang -
92
Flotsam And Jetsam -
93
Cauldron Rocks
94
The Fisher Boy
95
The Adventure
96
Fisher Children
97
Storm Cloud
98
Sweet william
99
Jeanni Deans
100
The Old Pump Well
The four subjects that come back most often in these originals, each with its finest example.
The 7 museums that hold the most of the paintings on this page.
| Museum | City | Works by William McTaggart | Paintings from this list |
|---|---|---|---|
 Scottish National Gallery |
Edinburgh | 32 | A Study of Two Female Nude Models, A Study of Oak Leaves in Autumn (Self-portrait), Life Study of a Standing Nude Male Model |
 Mcmanus: Dundee's Art Galleries And Museums |
Dundee | 5 | Fish from the Boat, A Fresh Breeze, Jeannie (Miss Jean Halley) |
 The Hunterian Museum and Art Gallery |
Glasgow | 3 | A Breezy Day off Campbeltown, Sound of Jura, The Silver Sea |
 Polesden Lacey |
1 | The Pleasures of Hope | |
 Dundee Art Gallery And Museum |
Dundee | 1 | A Message from the Sea |
 City Art Centre |
Edinburgh | 1 | Flotsam and Jetsam |
 University of Dundee |
Dundee | 1 | Lobster Fishers, Machrihanish Bay |
Pick a decade to see the original that defines it.
In the soft, amber-hued light of a mid-nineteenth-century studio, two women exist in a moment of stillness. One figure stands tall on the left, her back turned to us in a three-quarter view, her form defined by the gentle play of light against skin. To her right, a second woman rests, seated and leaning against a large, terracotta vessel that anchors the composition. The air feels heavy with the scent…
The oil on canvas painting titled The Pleasures of Hope was executed by the artist William McTaggart. This work dates to 1860. The artist, who lived from 1835 to 1910, was born in Argyll and Bute, United Kingdom.
The Young Fishers is an oil on canvas painting by the artist William McTaggart. This work was created about 1876. The physical dimensions of the piece are 72.4 x 108.0cm.
In this 1886 work, we find ourselves looking out over the waters near Carradale, Argyll. The scene is defined by a sense of movement, specifically the restless energy of a ground swell moving through the sea. Several boats are scattered across the composition, some drifting near the shoreline while others appear smaller and more distant as they navigate the expanse. A single figure stands near the center, a small presence…
The oil on canvas work titled A Study of Oak Leaves in Autumn (Self-portrait) was executed by the Scottish artist William McTaggart. Dated 1892, this painting presents a self-portrait of the artist. The subject is depicted as a man with a prominent, well-groomed beard and mustache, wearing a dark hat and a heavy, textured coat. He is positioned in a bust-length composition, looking toward the viewer from a slightly off-center…
Storm Cloud. A Study of Two Female Nude Models (1858) and A Ground Swell, Carradale, Argyll (1886) come next.
Storm Cloud, A Study of Two Female Nude Models, A Ground Swell, Carradale, Argyll, A Study of Oak Leaves in Autumn (Self-portrait), Life Study of a Standing Nude Male Model, A Life Study of a Standing Female Nude, Life Study of a Seated Male Nude Holding a Staff, The Pleasures of Hope, The Past and the Present and The Old Net. The ranking above gives each one's year and museum.
Our catalog holds 117 works by William McTaggart, dated from 1850 to 1908.
Mostly in Scottish National Gallery (Edinburgh), Mcmanus: Dundee's Art Galleries And Museums (Dundee) and The Hunterian Museum and Art Gallery (Glasgow). The museum table above lists them all.
In 1890s: 18 of the 100 works on this page were made then, A Study of Oak Leaves in Autumn (Self-portrait) among them.
On this page, the earliest is A Life Study of a Standing Female Nude (1850) and the latest Glenramskill (1908).
Sea (8), Sky (8) and Children (7), across the 100 works on this page.
Oil On Canvas, for 18 of the 100 works on this page.
Impressionism, judging by the originals on this page.
A Study of Two Female Nude Models, A Study of Oak Leaves in Autumn (Self-portrait) and Life Study of a Standing Nude Male Model: the Scottish National Gallery, Edinburgh holds 32 of the works on this page.
William McTaggart (1835-1910) stands as a pivotal figure in late 19th and early 20th century Scottish art, a painter who masterfully navigated the evolving currents of Impressionism while retaining a deeply rooted connection to his native landscape. Born on the windswept Kintyre Peninsula in Scotland – a region sculpted by the relentless Atlantic – McTaggart’s work is more than mere depiction; it's an intimate exploration of light, atmosphere, and the profound relationship between humanity and nature. His legacy lies not just in the beauty of his paintings but also in his courageous attempt to synthesize observation with feeling, a pursuit that defined much of his artistic journey.
McTaggart’s early life was shaped by the stark realities of rural existence. He was born into a crofter family – farmers who cultivated small plots of land – and witnessed firsthand the dramatic shifts in weather and light across the rugged coastline. This formative experience instilled within him an acute sensitivity to the natural world, a quality that would later permeate his art. Initially drawn to portraiture, influenced by the guidance of Daniel MacNee in Edinburgh, McTaggart’s focus gradually shifted towards capturing the essence of the Scottish landscape. He moved away from purely representational approaches, embracing the Impressionist technique of *plein air* painting – working directly outdoors to capture fleeting moments of light and color.
His artistic development was inextricably linked to his personal life. The loss of his wife, Marjory, in 1884 profoundly impacted McTaggart’s work, leading him towards a more introspective style. Following her death, he relocated to Lasswade near Edinburgh, where he found solace and inspiration in the rolling hills of the Moorfoot Hills. This period marked a significant shift in his artistic focus, with an increased emphasis on capturing the subtle nuances of light and color across these familiar landscapes. His paintings during this time are characterized by a remarkable sense of atmosphere – a feeling of stillness and contemplation that invites the viewer to lose themselves within the scene.
McTaggart’s technique was both disciplined and intuitively expressive. He meticulously observed the effects of light on water, capturing its shimmering reflections and transient moods with remarkable skill. His brushwork is loose yet controlled, conveying a sense of movement and immediacy. He employed a vibrant palette, often utilizing complementary colors to heighten the intensity of his scenes. While undeniably influenced by Impressionism – particularly the work of Constable and Turner – McTaggart never fully embraced its detached objectivity. Instead, he infused his landscapes with an emotional depth that distinguished him from many of his contemporaries. His paintings aren’t simply representations of places; they are expressions of a deeply felt connection to the natural world.
Beyond his technical mastery, McTaggart's work holds significant historical importance. He was one of the first Scottish artists to fully embrace Impressionism, adapting it to the unique character of the Scottish landscape. His paintings helped to establish a distinctly Scottish voice within the broader European art movement. His dedication to capturing the ephemeral qualities of light and atmosphere paved the way for future generations of Scottish landscape painters. Today, William McTaggart’s work continues to resonate with viewers, offering a poignant reminder of the enduring beauty and power of the natural world.
McTaggart's artistic journey was shaped by a diverse range of influences. His early exposure to portraiture under Daniel MacNee instilled in him a strong sense of observation and technical skill. The Impressionist painters, particularly Constable and Turner, provided him with a framework for capturing the fleeting effects of light and color. He also drew inspiration from Scottish landscape painters such as George Washington Henderson, whose work explored similar themes of rural life and the natural world.
His connection to the Royal Academy was significant, allowing him access to exhibitions and opportunities for professional development. However, McTaggart’s artistic vision extended beyond the confines of academic tradition. He sought to create a uniquely Scottish style – one that captured the spirit of his homeland with honesty and emotional depth.
William McTaggart's contribution to Scottish art is undeniable. He was a pioneer in adapting Impressionism to the specific characteristics of the Scottish landscape, establishing a distinctively Scottish voice within the broader European art movement. His paintings are celebrated for their atmospheric qualities, emotional depth, and technical mastery.
Beyond his artistic achievements, McTaggart’s work offers valuable insights into the relationship between humanity and nature. His paintings invite viewers to contemplate the beauty of the natural world and our place within it. He remains a beloved figure in Scottish art history, admired for his skill, sensitivity, and unwavering commitment to capturing the essence of the Scottish landscape.
