George Washington Nicholson stands as a notable figure in nineteenth-century American art, particularly recognized for his contributions to landscape and realist painting. Born in 1832 in Salem County, New Jersey, his artistic journey took him from humble beginnings to the established art circles of Philadelphia and the influential academies of Europe. His work reflects the prevailing tastes of his era, blending meticulous observation with a romantic sensibility, leaving behind a legacy of evocative scenes of both American and foreign locales.
Early Life and Artistic Beginnings
Nicholson's roots were firmly planted in New Jersey. His upbringing in Salem County likely exposed him to the landscapes that would later feature in his art. His path to becoming a professional artist was not immediate. Like many aspiring painters of the time, his initial foray into the world of pigments and brushes involved more practical applications. During his teenage years, he worked as a house painter, a trade that provided foundational experience with materials and surfaces.
By the 1850s, Nicholson began experimenting with oil painting, signaling a shift towards fine art. This period marked the germination of his artistic ambitions. The decisive move came in 1861 when he relocated to Philadelphia. This city, a major cultural and artistic hub in the United States at the time, offered greater opportunities for training, exhibition, and patronage. Upon arriving, Nicholson supported himself by offering private painting lessons, gradually building his reputation and transitioning into the life of a full-time professional artist.
European Influence and Training
A crucial phase in Nicholson's development involved travel and study in Europe. Like many ambitious American artists of his generation, he sought the advanced training and exposure to masterworks available across the Atlantic. He spent time in France and the United Kingdom, immersing himself in the continent's rich artistic traditions.
Most significantly, Nicholson studied under the acclaimed French painter Eugène Isabey (1803-1886). Isabey was a prominent figure associated with the Romantic movement, renowned for his dramatic marine paintings and historical scenes, often characterized by rich color, dynamic compositions, and expressive brushwork. Studying with Isabey undoubtedly left a lasting impression on Nicholson's style. Elements such as looser brushstrokes, an occasional use of impasto (thickly applied paint), and a clear affinity for romanticized landscapes, particularly atmospheric night scenes (nocturnes), can be traced back to this European tutelage. This experience connected Nicholson directly to contemporary European art trends, particularly French Romanticism and the Barbizon School's influence on landscape painting, seen in artists like Jean-Baptiste-Camille Corot and Théodore Rousseau.
The Philadelphia Artist
Upon returning to the United States, George Washington Nicholson established himself as a significant presence in the Philadelphia art scene. He set up his studio in the city and became an active participant in its cultural life. Philadelphia provided a supportive environment, with established institutions and a growing class of patrons interested in acquiring contemporary American art.
Nicholson became associated with several key art organizations. He regularly exhibited his work at prestigious venues such as the Pennsylvania Academy of the Fine Arts (PAFA), one of the oldest and most important art institutions in the country. He also showed his paintings at the National Academy of Design (NAD) in New York City and the Art Club of Philadelphia. Consistent participation in these exhibitions helped solidify his reputation and brought his work to the attention of collectors. His paintings, particularly his landscapes and still lifes, found favor among affluent urban clients who appreciated his blend of realism and romantic charm. One known patron was Alfred O. Deshong.
Artistic Style and Subject Matter
George Washington Nicholson's artistic style is best characterized as a blend of academic realism and romanticism, typical of many successful painters in the latter half of the nineteenth century. His training, both domestic and European, equipped him with a strong technical foundation. His works often display meticulous attention to detail and a commitment to representing the tangible world accurately.
However, this realism was frequently infused with a romantic sensibility. His compositions could be idealized, aiming for picturesque beauty rather than stark documentation. This is evident in his landscape paintings, which formed the core of his output. He painted scenes from both America and Europe, often drawn to coastal areas, tranquil woodlands, and pastoral settings. His New Jersey origins remained a source of inspiration, with depictions of the state's distinctive coastline and marshes appearing in his work, connecting his professional life in Philadelphia back to his roots.
Nicholson's handling of paint, influenced by Isabey, often featured relatively loose brushwork compared to the tighter finish of some earlier American landscape painters associated with the Hudson River School, like Frederic Edwin Church or Albert Bierstadt. He sometimes employed impasto to add texture and emphasis. A particular fondness for nocturnes allowed him to explore dramatic light effects and moody atmospheres. Beyond landscapes, he was also a capable painter of still lifes and occasionally incorporated small figures engaged in everyday activities into his scenes, adding narrative interest and a sense of life.
Notable Works
While a comprehensive catalogue of his entire oeuvre may be dispersed, several works stand out or are representative of his artistic focus. His mural commissions, including The Old Hall and Washington Crossing the Delaware, demonstrate his ability to handle large-scale compositions and historical or literary themes. These works, likely created during his peak period in the 1880s and 1890s, catered to a taste for narrative and patriotic subjects.
In his easel paintings, works like Going Home (1888) exemplify his landscape style. This particular oil painting, noted as being on a panel within a giltwood frame, likely captures the blend of detailed observation and evocative atmosphere characteristic of his work from this period. His repertoire consistently included landscapes depicting various times of day and seasons, seascapes reflecting his training under the marine painter Isabey, and carefully arranged still life compositions. These works cemented his reputation among collectors and critics of his time.
Teaching and Influence
Beyond his own painting, George Washington Nicholson contributed to the Philadelphia art community as an educator. From his early days in the city, he offered private instruction. Over his career, he mentored several aspiring artists, passing on the techniques and stylistic approaches he had honed.
Among his known students were James Brade Sword (1839-1925), another Philadelphia painter known for landscapes and genre scenes, who is believed to have studied with Nicholson between 1861 and 1863. Another student was A.N. Lindenmuth (Arlington Lindenmuth), also a landscape painter with whom Nicholson reportedly collaborated at times. James Wood (1839-1915) is also listed among those who received instruction from him.
Interestingly, Nicholson also taught the famous American actor Joseph Jefferson (1829-1905). Jefferson, best known for his stage portrayal of Rip Van Winkle, was also an enthusiastic amateur painter, primarily of landscapes. That a figure of Jefferson's stature sought instruction from Nicholson speaks to the painter's respected position within the cultural sphere of Philadelphia and beyond. Through these students, Nicholson's influence extended into the next generation of artists.
Personal Life and Interests
Details about Nicholson's personal life provide glimpses into the man behind the canvas. He was married to Jane Elizabeth Brady, although sources suggest their marriage was tragically cut short by her early death. This personal loss may have impacted his life and work, though specific connections are speculative.
An interesting anecdote reveals his passion for fox hunting. He reportedly relished the chase and the equestrian aspect of the sport but had an aversion to the kill itself. It is said that he preferred to capture the fox unharmed and then release it. This detail paints a picture of a man who enjoyed the vigor and tradition of country sports but possessed a sensitivity that perhaps also informed his artistic depictions of nature. His life, centered around Philadelphia but punctuated by European travel and connections to his New Jersey heritage, reflects the experiences of many successful American artists of his time.
Exhibitions and Recognition
George Washington Nicholson achieved considerable recognition during his lifetime, primarily through consistent participation in major exhibitions. His presence was regularly noted at the annual exhibitions of the Pennsylvania Academy of the Fine Arts (PAFA), a critical venue for any artist seeking prominence in Philadelphia. Showing work at PAFA placed him alongside the leading artists of the day, including figures like Thomas Eakins and William Trost Richards, who were also deeply embedded in the Philadelphia art world.
His reach extended beyond Philadelphia. Exhibiting at the National Academy of Design (NAD) in New York City brought his work to a different, though often overlapping, audience and group of critics. He was also active in the Art Club of Philadelphia, a social and professional organization for artists and art lovers. The acceptance and display of his paintings at these respected institutions confirmed his status as a professional artist of note and facilitated sales to the growing number of American art collectors. While perhaps not achieving the national fame of some Hudson River School painters like Thomas Moran or landscape artists focused on the epic scale of the American West, Nicholson carved out a successful career within the competitive art markets of the East Coast.
Art Historical Significance and Legacy
In the broader narrative of American art history, George Washington Nicholson is recognized as a skilled and successful practitioner of late nineteenth-century landscape and realist painting. His career peaked during a period when the influence of European academic training was significant among American artists, and styles like Barbizon realism and aspects of Romanticism were highly popular. His work embodies these trends, tailored for an American audience.
He was a respected member of the Philadelphia art establishment, contributing as both an artist and a teacher. His paintings were admired for their technical proficiency, appealing subject matter, and blend of detailed rendering with atmospheric effect. While his adherence to established academic and romantic conventions meant he was not part of the avant-garde movements that would emerge later, his work represents a significant current in American art of his time.
His legacy resides in his paintings, which continue to be appreciated for their aesthetic qualities and as documents of nineteenth-century artistic taste. He successfully navigated the art world of his era, finding patronage and critical acceptance. While perhaps overshadowed in historical accounts by artists who pursued more radical stylistic innovations or grander nationalistic themes, George Washington Nicholson remains an important figure for understanding the regional art scenes, particularly Philadelphia's, and the enduring appeal of landscape painting in American culture. His connection to Eugène Isabey also places him within the transatlantic exchange of artistic ideas that shaped much of American art in the nineteenth century.
