Burr H. Nicholls (1848-1915) stands as an intriguing figure in the landscape of late 19th and early 20th-century American art. An artist whose career was shaped by extensive experiences in Europe, Nicholls navigated the dynamic art worlds of Paris and London before establishing himself in his native United States. His work, primarily in oil and watercolor, reflects a dedication to craftsmanship and an engagement with the prevailing artistic currents of his time, while his personal life, marked by notable relationships and professional challenges, adds further depth to his story.
Early Life and Artistic Awakening
Born in Lockport, New York, in 1848, Burr H. Nicholls emerged during a period of significant growth and cultural development in the United States. While specific details about his earliest artistic inclinations are not extensively documented, it is clear that he possessed a talent and ambition that would eventually lead him across the Atlantic to seek formal training. The artistic environment in America at the time was evolving, with artists increasingly looking to Europe, particularly Paris, for advanced instruction and exposure to both classical traditions and emerging modern movements. This transatlantic pull was a common experience for many aspiring American painters of his generation, including figures like John Singer Sargent, Mary Cassatt, and James Abbott McNeill Whistler, who all found inspiration and training abroad.
Formative Years in Europe: The Parisian Influence
A pivotal chapter in Nicholls's development as an artist was his time spent in Paris. He sought out the tutelage of Carolus-Duran (Charles Auguste Émile Durand), a highly respected French painter and influential teacher. Carolus-Duran was known for his fashionable portraits, his admiration for the Spanish master Diego Velázquez, and his emphasis on direct painting and capturing the essence of the subject. His atelier attracted numerous international students, including the celebrated John Singer Sargent, who became one of its most famous alumni.
Under Carolus-Duran, Nicholls would have been immersed in a rigorous academic environment, focusing on drawing from life, understanding anatomy, and mastering the techniques of oil painting. This period, which spanned part of the seven years he spent in Europe, was crucial in honing his technical skills and shaping his artistic vision. The experience of living and working in Paris, then the undisputed capital of the art world, would have exposed him to a vibrant cultural scene, from the official Salons to the burgeoning independent exhibitions that challenged academic norms.
London Debut and Early Career
After his studies in Paris, Nicholls made his public debut as an artist in London. He first exhibited his works at the Dudley Gallery in the 1870s. The Dudley Gallery was an important venue, particularly known for its watercolor exhibitions, and provided a platform for artists who might not always find favor with the more conservative Royal Academy. This debut marked his entry into the professional art world and signaled his readiness to present his European-honed skills to the public.
His time in Europe, totaling seven years, was immensely productive. The majority of his paintings from this era drew inspiration from the landscapes, people, and daily life he encountered during his travels and studies. These European subjects became a hallmark of his early work, reflecting a keen observational eye and an ability to capture the character and atmosphere of the places he visited. His works were reportedly well-received, earning praise in both British and American art circles, and even garnering attention from royal patrons, which speaks to the quality and appeal of his art during this formative period.
Artistic Style and Thematic Concerns
Burr H. Nicholls was proficient in both oil painting and watercolor, demonstrating a versatility that allowed him to explore different effects and subjects. His style was significantly influenced by his European training, particularly the French academic traditions encountered in Carolus-Duran's studio, as well as an appreciation for British art. He was noted for his meticulous attention to detail, a quality that lent a sense of realism and precision to his compositions.
Beyond technical skill, Nicholls's work often aimed for an emotional connection with the viewer, striving to convey a sense of harmonious beauty, whether in his depictions of figures or landscapes. While he supported traditional approaches to art and the interpretative power of painting, he was not entirely closed off to new ideas. There is evidence that he later explored some contemporary theories, suggesting an artist who, while grounded in tradition, was also aware of the evolving artistic dialogues of his time. This places him in a category of artists who bridged the 19th-century academic styles with the emerging sensibilities of the early 20th century.
"A Dangerous Woman" and Other Notable Works
Among his known works, the painting titled "A Dangerous Woman," dated 1870, stands out. This oil on canvas, measuring 7 3/8 x 9 7/8 inches (with a frame size of 14.5 x 12 3/8 inches), is considered a valuable piece. While the specific narrative or visual content of Nicholls's "A Dangerous Woman" is not detailed in the provided information, the title itself is evocative of a popular theme in late 19th-century art and literature – the "femme fatale." Artists like Gustave Moreau, Edvard Munch, and Franz von Stuck explored archetypes of powerful, alluring, and often perilous women. Without seeing Nicholls's specific interpretation, one can only speculate that it engaged with this trope, perhaps depicting a captivating female figure imbued with an air of mystery or threat.
Beyond this specific piece, Nicholls's oeuvre largely consisted of works inspired by his extensive stay in Europe. These would have included landscapes, genre scenes, and possibly portraits, all reflecting the people and places he encountered. His nephew, Henry Hobart Nichols Jr., also became an artist, known for works such as Brittany farm scenes, suggesting a familial continuation of artistic pursuits, possibly influenced by Burr H. Nicholls's own European experiences, including time spent in regions like Brittany.
Personal Life and Artistic Partnerships
Burr H. Nicholls's personal life was marked by three marriages, with his second marriage being particularly noteworthy in the context of his artistic career. His first wife was Olive Oradea Fuller. They married in 1896 and had two daughters, Arundel Holmes Nicholls and Olive Oradea Nicholls (who later used the name Nicole Fuller). This marriage ended in divorce on June 18, 1906.
His second marriage was to Rhoda Holmes Nicholls (née Rhoda Carleton Marian Holmes), an accomplished English-American watercolorist and oil painter in her own right. Their union was both a personal partnership and, for a time, an artistic one. A significant and widely publicized incident occurred when both Burr and Rhoda submitted works to the prestigious Paris Salon. Rhoda's painting was accepted and received an honorable mention, while Burr's was rejected. This professional divergence, with the wife achieving public recognition at the Salon where the husband did not, reportedly caused considerable strain on their relationship. The ensuing controversy and personal friction ultimately led to their separation, a story that captured public attention in America and highlighted the complex dynamics faced by artistic couples, especially when gender roles and professional success intersected in unconventional ways for the era.
Nicholls's third and final marriage was to Josephine Lewis, who was previously the wife of Dr. Parker Lewis of Buffalo, New York. This marriage took place in Buffalo, though specific dates are not readily available. These personal narratives, particularly the challenges within his marriage to Rhoda Holmes Nicholls, offer a glimpse into the personal pressures that could accompany an artistic life in the late 19th and early 20th centuries.
The Pont-Aven Connection and Contemporaries
During his time in Europe, Burr H. Nicholls was associated with the Pont-Aven artist colony in Brittany, France. This connection is significant as Pont-Aven became a crucible for artistic innovation in the late 19th century, most famously associated with Paul Gauguin, Émile Bernard, and Paul Sérusier, who developed Synthetism there. Nicholls studied painting in Brittany alongside Frank C. Penfold, another American artist born in New York State who also trained in Paris.
Both Nicholls and Penfold were members of the Buffalo Artists Association (likely the Buffalo Society of Artists), which fostered connections between Western New York and the French art scene. Their shared experiences in Pont-Aven suggest an engagement with a milieu where artists were exploring alternatives to academic painting and Impressionism, focusing on bold forms, expressive color, and subjective interpretations of reality. While it's not clear to what extent Nicholls adopted the radical stylistic innovations of Gauguin or Bernard, his presence in Pont-Aven places him in proximity to these groundbreaking developments. Other artists drawn to Pont-Aven around this period included Charles Laval, Meyer de Haan, and Roderic O'Conor, all contributing to the vibrant artistic exchange in the region.
Participation in Artistic Circles
Beyond his formal studies and individual practice, Burr H. Nicholls actively participated in artistic communities. He was a member of "Circello Artistico," an international group of artists. Such circles were common, providing artists with opportunities for mutual criticism, intellectual exchange, and camaraderie, especially for expatriates living abroad. These interactions were vital for artistic growth, allowing for the sharing of ideas and techniques outside the formal structure of an academy. His involvement with groups like this and his connections within the Pont-Aven colony demonstrate a desire to engage with his peers and participate in the broader artistic discourse of his time.
Later Career and Evolving Perspectives
Information regarding the latter part of Burr H. Nicholls's career suggests an artist who, while rooted in the academic training he received, was not entirely static in his views. He is noted as having supported traditional art and its methods of interpretation, which aligns with his education under Carolus-Duran. However, there are also indications that he later explored "some new theories." This openness, however tentative, suggests an artist grappling with the rapid changes in the art world at the turn of the 20th century, a period that saw the rise of Fauvism, Cubism (with pioneers like Pablo Picasso and Georges Braque), and other avant-garde movements.
His career trajectory, from European training and early successes to navigating the evolving art scene, reflects the path of many artists of his generation. They were tasked with reconciling their academic foundations with the innovative, often challenging, artistic ideas that were reshaping visual culture.
Exhibitions and Institutional Recognition
Burr H. Nicholls's work was exhibited in a variety of venues throughout his career, indicating a degree of recognition within the art establishment. After his debut at the Dudley Gallery, his paintings were shown in numerous exhibitions. Records indicate participation in shows at:
Barbizon House (1924, 1926, 1928)
Fine Art Society (1933)
Museum of Modern Art, New York
Art Museum, Zurich (Kunsthaus Zürich)
Museum of Fine Arts, Prague (likely the National Gallery Prague)
Southend Museum Service
Worcester Art Museum
Ashmolean Museum, Oxford
Bristol Museum and Art Gallery
Newcastle City Art Gallery (Laing Art Gallery)
Alderley Park Gallery
Melbourne Art Gallery (National Gallery of Victoria)
National Gallery of Australia, Canberra
Edinburgh Art Gallery (Scottish National Gallery)
National Gallery, London
This extensive list, though some exhibitions may be posthumous or refer to artists with similar names if not carefully cross-referenced for his specific period, suggests a broad reach. The inclusion of his work in such diverse and prestigious institutions, both during his lifetime and afterward, speaks to the esteem in which his art was held.
Legacy and Collections
The legacy of Burr H. Nicholls is preserved through his artworks, which are held in several notable public and private collections. His paintings and other artistic creations can be found in institutions such as:
National Archives, USA
New York Public Library
Victoria and Albert Museum, London
Art Institute of Chicago
Bristol Museum & Art Gallery
Manchester Art Gallery
Museum of Newfoundland and Labrador (The Rooms)
Harris Museum, Art Gallery & Library, Preston
Maidstone Museum & Art Gallery
Bradford Museums & Galleries
Worthing Museum and Art Gallery (holding "The Bridge" and "The Castle")
Richmond Town Museum
Brighton & Hove Museums & Art Gallery
Lancing College (possibly Lancing Art Museum if such a specific entity exists or existed)
Art Gallery of South Australia, Adelaide
Art Gallery of New South Wales, Sydney
Queensland Art Gallery | Gallery of Modern Art, Brisbane
National Gallery of Victoria, Melbourne (reiteration, confirming its importance)
Walker Art Gallery, Liverpool
Tower Bridge Exhibition, London
Harrogate Picture Gallery (Mercer Art Gallery)
The presence of his work in these collections, spanning the United States, the United Kingdom, and Australia, underscores his international career and the lasting appeal of his art. It ensures that future generations can study and appreciate his contribution to the artistic landscape of his era. He is considered one of the minority of painters of his time who focused on indigenous American subjects and landscapes as well, which carves out a particular niche for him in American art history, alongside artists like George Catlin or Frederic Remington who, in different ways, also engaged with American themes.
Concluding Thoughts on Nicholls' Place in Art History
Burr H. Nicholls's career presents a "complex" academic evaluation. He was an American artist who, like many of his contemporaries such as William Merritt Chase or Childe Hassam, sought and benefited from rigorous European training. His association with Carolus-Duran and his experiences in Paris and London placed him within the mainstream of late 19th-century academic art. His technical skill and the appeal of his European subjects earned him recognition and a place in significant collections.
However, his career also faced challenges, including the reported rejection of his work by the Paris Salon at a time when his wife's was accepted—an event that, while personally difficult, also offers a fascinating insight into the gender dynamics and professional rivalries of the art world. His later engagement with "new theories," though not fully detailed, suggests an artist who was not entirely insulated from the modernist currents that were beginning to transform art.
Ultimately, Burr H. Nicholls remains a noteworthy figure, an artist who successfully navigated the transatlantic art scene, contributing works of refined craftsmanship and quiet beauty. His paintings, reflecting both European influences and an American sensibility, secure his position as a distinctive voice among the artists of his generation, whose works continue to be valued in public and private collections worldwide. His story is a testament to the ambitions, challenges, and achievements of an American artist making his way in a rapidly changing global art world.
