Early Life, Family and Training

James Fitzgerald arrived in the world in 1899 in Boston, Massachusetts. His affinity for visual expression appeared early, with his artistic talents recognized by the age of four. During his childhood, frequent visits to his grandparents' farm in Milton, Massachusetts, fostered a lifelong fascination with painting horses, a subject that would remain close to his interests. This early connection to the landscape and its inhabitants provided a foundational rhythm to his developing eye.

The trajectory of his life took a brief, disciplined turn when he served in the U.S. Marine Corps from 1918 to 1919. Following his military service, he turned his focus toward formal instruction. Between 1919 and 1923, he enrolled at the Massachusetts School of Art, where he began to refine his technical abilities. He continued his academic pursuits at the Boston Museum School from 1923 to 1924, seeking to master the nuances of his chosen medium.

Life and Activity in California

After sailing as an able-bodied seaman toward the West Coast, Fitzgerald settled in Monterey, California. This period marked a significant shift in his development, as he sought formal guidance under the instruction of Armin Hansen. The coastal environment of Monterey provided more than just subject matter; it offered a community of thinkers and creators. He became part of a diverse social circle that included figures such as John Steinbeck and John Cage, a group that gathered around the marine biology laboratory of Edward Ricketts. During these years, his interest in Eastern Philosophy began to mature, influencing the way he approached the spiritual rhythm of his subjects.

His presence in the California art scene grew steadily throughout the 1930s. He exhibited his work extensively across the state, gaining recognition for his ability to capture the essence of the landscape. His technical skill was acknowledged by his peers when he was awarded first prize in a California Watercolor Society exhibition. While his time in Monterey was defined by this professional ascent and social engagement, it was also a period of profound personal and artistic transition that would eventually lead him away from the commercial art world and toward the isolation of the Atlantic coast.

Technique and Artistic Style

Fitzgerald’s approach to the canvas was deeply informed by a search for the spiritual rhythm inherent in his subjects. During his years in Monterey, his engagement with Eastern Philosophy matured, shifting his focus from mere representation toward an attempt to capture an inner vitality. This philosophical grounding allowed him to move beyond the surface of the landscape, seeking instead the essential energy of the coastal environments he frequented.

His technical execution often relied on the delicate interplay of light and transparency. He frequently utilized transparent and opaque watercolor over graphite pencil on paper to achieve a specific sense of depth and movement. This method was particularly effective in his modernist coastal views, where he could layer colors to suggest the shifting qualities of the sea and sky. His work in this medium allowed for a fluidity that mirrored the natural elements he sought to portray.

While his landscapes and coastal scenes are prominent, his portfolio also included portrait painting, applying the same interest in character and essence to the human form. His compositions were characterized by a modernist sensibility that prioritized the structural and spiritual truth of the subject over decorative detail. Through this disciplined use of watercolor and a focused intent, he translated the physical world into a more rhythmic, expressive visual language.

Later Years and Death

In 1943, Fitzgerald made the decision to settle on Monhegan Island. He established his life there by purchasing a house that had been built by Rockwell Kent during the first decade of the 20th century. This period marked a gradual withdrawal from the commercial art world, as he became an integral part of the island's year-round community. He lived a life deeply connected to the landscape, finding a sense of place in the remoteness of the coast.

His connection to the Atlantic continued through his travels. In the late 1960s, he visited Ireland several times. This period of life eventually led him to Inis Mór, where he died on April 9, 1971. He was laid to rest in the Mount Jerome Cemetery in Dublin.