Born Kidderminster, died Kilmarnock. Painter in oil of flowers, portraits and figure subjects. Occasionally painted in watercolour. Born of Ayrshire parents, his father being a carpet designer. His mother's name was Stewart which was incorporated in his own name J Stuart Park until 1890. Thereafter he preferred Stuart Park and this is how he is generally known and invariably catalogued. His early life and education are uncharted although he may have been apprenticed to an engineer. Painted in his spare time, taking up painting professionally in 1888. Trained at Glasgow School of Art and in Paris under Lefevre and Boulanger. At this time he also painted portraits, mainly of young gils framed by flowers, and developed an association with the Glasgow Boys with whom he is now identified.
Moved from Glasgow to Kilmarnock in 1896. Developed a very individual technique using thick and rapid strokes against a dark background, suggesting rather than defining the texture and colour of flowers. Produced work of markedly varying quality, his better delicate paintings, often rectangular, are markedly superior to his run-of-the-mill still lifes, often of roses, which during his lifetime he sold for £5. These stereotyped paintings diminished his reputation although his finest work ranks among the best flower paintings Scotland has produced.
'With almost oriental skill he used the fully loaded brush to describe in single strokes the twist of a petal or the shape of a leaf. In such painting there is no room for fumbling or the tentative approach. After a day's work he would ride home on a bicycle with two canvases strapped to his back and contemplate them through the evening, either to let well alone, or scrape the paint off to start afresh' [Tanner]. A conservatory was attached to his studio and probably a greenhouse as well as providing a great variety of subjects. Held a successful exhibition every year in Glasgow. Caw said of his art 'if exceedingly limited, (it) has a note and distinction of its own. Although somewhat lacking in form, his pictures show real passion for the beauties of texture and colour in flowers, and his technique .. with its exquisite impasto is admirably suited for their expression'. As a person he was given to intemperance, sometimes arrogant, never suffering fools gladly. On the other hand he was more open minded and better informed about developments in art than any other members of the Glasgow School. He once wrote 'in the first place there should be beauty of colour, also decorative effect, then adequate carrying power. A distinguished painter recently said - in relation to carrying power - that a picture was not fulfilling its proper function unless it could convey across a gallery, and he was right. There should also be, of course, the natural and realistic effect of the flowers themselves'. The best work was done 1889-1892, mainly pink, yellow and red roses. An early watercolour of strawberries 1886 was shown at the RSW that year. This is an interesting example of earlier work and of the lightness of touch at the outset of his career in spite of uncertainty of design.
Member, International Society of Sculptors, Painters and Engravers. Exhibited RA (1), RSA (29), RSW (2), GI (116), AAS (1) and L (27). Represented in Dundee AG, Kilmarnock AG, Kirkcaldy AG, Glasgow AG (8, incl one of his best portraits 'A Gypsy Maid), Perth AG, Lillie AG (Milngavie).