Margaret Thomson Wilson was a Scottish artist whose work embodies the delicate balance between realism. Born in Glasgow in 1864, Wilson studied at the Glasgow School of Art, where she honed her skills in both drawing and painting. Her early exposure to the Scottish Colourists, particularly the work of F.C.B. Cadell, deeply influenced her appreciation for light, colour, and atmosphere.
It was there she met fellow art student James Hamilton Mackenzie (1875-1826) and the pair married in 1907, setting up a home and studio at 24 Sandyford Place. They travelled to Italy to paint and exhibited at the RSA, RGIFA and RSW.
The pair married in 1907 and set up a home and studio at 24 Sandyford Place. They travelled to Italy to paint and exhibited at the RSA, RGIFA and RSW. Margaret also designed jewellery, embroidery, and metalwork. One of her best-known works is a standing clock held by Glasgow Museums.
Wilson’s landscapes are known for their evocative portrayal of nature’s changing moods, often painting rural scenes and coastline vistas. She had a remarkable ability to capture the soft nuances of light on water, trees, and skies, creating works that feel intimate and meditative. Her still lifes, often featuring flowers, fruit, and everyday objects, reveal her keen eye for composition and texture, imbuing the simplest subjects with an extraordinary sense of significance.
Though Wilson was primarily a figurative painter, she was not confined by convention. Her work evolved over time, embracing elements of abstraction as she experimented with colour and form. She sought to capture not just the physical appearance of her subjects but the emotional resonance they held. This sensitivity to mood, coupled with a deep respect for nature, gave her paintings an enduring timelessness.
Wilson also designed jewellery, embroidery, and metalwork. One of her best-known works is a standing clock held by Glasgow Museums.
Wilson exhibited widely in Scotland, becoming an integral part of the artistic community in Glasgow and Edinburgh. Her quiet yet profound contributions to the Scottish art scene were acknowledged through numerous exhibitions, and she remains an under-recognised figure whose work continues to resonate with collectors and art lovers alike. Her legacy is one of grace, patience, and a deep connection to the land she so lovingly painted, ensuring her place in the rich history of Scottish art.
