Patrick Geddes coined the phrase Scottish Renaissance, arguing that technological development needed to paralleled in the arts. This ideas were taken up by a new generation, led by the poet Hugh MacDiarmid who argued for a synergy between science and art, the introduction of modernism into art and the creation of a distinctive national art. These ideas were expressed in art in the inter-war period by figures including J. D. Fergusson, Stanley Cursiter (1887–1976), William McCance (1894–1970) and William Johnstone (1897–1981). Fergusson was one of the few British artists who could claim to have played a part in the creation of modernism. His interest in machine imagery can be seen in paintings such as "Damaged Destroyer" (1918). Cursiter was influenced by the Celtic revival, post-impressionism and Futurism, as can be seen in his "Rain on Princes Street" (1913) and "Regatta" (1913). McCance's early work was in a bold post-impressionist style, but after World War I it became increasingly abstract and influenced by vorticism, as can be seen in "Women on an Elevator" (1925) and "The Engineer and his Wife" (1925). Johnstone studied cubism, surrealism and new American art. He moved towards abstraction, attempting to utilise aspects of landscape, poetry and Celtic art. His most significant work, "A Point in Time" (1929–38), has been described by art historian Duncan Macmillan as "one of the most important Scottish pictures of the century".