Luxembourg Gardens

Samuel John Peploe


The experience of contemporary French painting that Peploe gained was of great importance to his development as a painter, particularly his use of colour. His involvement with Fauvism is clearly seen in this freely painted sketch of the Luxembourg Gardens. Its vivid colours echo those he had used when painting with Fergusson on the Gironde estuary in western France in the summer of 1910, while its brilliantly dynamic brushwork is driven as much by the need for expression as by any interest in depiction. The pictures he produced during this period did not prove a commercial success, however, and in the summer of 1912 he and his family returned to live in Edinburgh. 

  • Artist

    Samuel John Peploe

  • Date

    c. 1910

  • Medium

    oil on panel

  • Object number


  • Dimensions unframed

    35.5 × 28 cm

  • Dimensions framed

    51 × 44 cm

  • Place depicted

    Luxembourg Gardens (6452692)

  • Marks

    Signed bottom right

  • Subject



Samuel John Peploe RA, 1871-1935

Born in Edinburgh, the son of a banker, the young Samuel Peploe resisted a career in the law to spend four years attending art schools divided between the Royal Scottish Academy and the Académie Julian in Paris. Settling in Edinburgh in the early 1900s, Peploe established his reputation as a painter of still lives and innovative portraits influenced by the breakthrough early moderns, Édouard Manet and James McNeill Whistler.

Meanwhile his love of France and friendship with J.D. Fergusson led to annual visits across the Channel. Peploe wrote admiringly of the French: ‘They always remind me of the Gaelic- so frank and open…They so enjoy life largely in an animal way.’ He spoke from experience as his long-term girlfriend and future wife, Margaret Mackay, was Gaelic, hailing from the Isle of Barra.

The revolutionary Fauve painters who took Europe by storm in 1905 unlocked the reserved Scot’s wild side. Peploe’s move to Paris with his family in 1910 inspired a series radical ‘colourist’ paintings, which were deemed too difficult by his Edinburgh dealer, who promptly dropped him.

Unfit for military service, Peploe’s wartime paintings reveal the influence of Cézanne. The advent of peace saw his resurgence as a colourist establishing his reputation as a master of still lifes and interiors of theatrical stillness and beauty. Almost every year he visited Iona with Cadell producing seascapes which capture the unique clarity of Scottish light.

By the time of his death in 1935, aged 66, Peploe was hailed as ‘the real leader of the forward movement in Scotland.’