James Burrell-Smith (1822-1897) stands as a significant figure within the rich tradition of British landscape painting during the Victorian era. An accomplished watercolourist, he captured the beauty and grandeur of the British Isles, particularly the North East of England, as well as scenes from his travels on the Continent. Though perhaps less universally known today than some of his contemporaries, Burrell-Smith was a prolific and highly skilled artist, admired for his meticulous detail, topographical accuracy, and charming depictions of natural scenery and architectural landmarks. His work provides a valuable visual record of nineteenth-century Britain and reflects the prevailing tastes and artistic currents of his time, especially his strong connection to the influential Newcastle School of painters.
Early Life and Artistic Formation
Born in London in 1822, James Burrell-Smith's artistic journey truly began when he moved to the North East of England. This region, with its dramatic coastline, rolling hills, and historic castles and cathedrals, would provide the primary inspiration for much of his career. The most pivotal moment in his early development was becoming a pupil of the renowned Newcastle-based watercolourist Thomas Miles Richardson Sr. (1784-1848). Richardson was a central figure in the northern art scene and a master of the watercolour medium, known for his atmospheric landscapes and precise draughtsmanship.
Under Richardson's tutelage, Burrell-Smith absorbed the techniques and aesthetic principles that characterized the emerging Newcastle School. He learned the importance of careful observation, detailed rendering, and the skilled handling of watercolour washes to capture effects of light and atmosphere. Richardson's influence is evident in Burrell-Smith's early works, particularly in the clarity of composition and the delicate yet firm application of paint. This training provided a solid foundation upon which Burrell-Smith would build his own distinct artistic identity while remaining connected to the regional school that nurtured his talent.
The Newcastle School Context
To fully appreciate James Burrell-Smith's work, it is essential to understand the context of the Newcastle School of Painters. This was not a formal institution but rather a group of artists, primarily active in the first half of the nineteenth century, centered around Newcastle upon Tyne. Thomas Miles Richardson Sr. was its leading light, and his studio became a hub for aspiring artists. Other key figures associated with this school include Richardson's son, Thomas Miles Richardson Jr. (1813-1890), who also became a celebrated watercolourist, the marine painter John Wilson Carmichael (1800-1868), and George Balmer (1805-1846).
The Newcastle School artists shared several characteristics. They predominantly worked in watercolour, a medium that gained immense popularity in Britain during this period. They emphasized topographical accuracy, often depicting specific, identifiable locations with great fidelity. Their subjects frequently included the dramatic landscapes of Northumberland and Durham – castles like Alnwick, Bamburgh, and Warkworth, the River Tyne, the rugged coastline, and moorland scenes. While rooted in the North East, many, including T.M. Richardson Jr. and later Burrell-Smith himself, also travelled extensively, applying their detailed style to scenes in the Lake District, Scotland, Wales, and continental Europe. Burrell-Smith emerged as one of the most accomplished practitioners carrying forward the traditions of this school into the later Victorian era.
Artistic Style and Technique
James Burrell-Smith developed a distinctive style characterized by meticulous detail and a high degree of finish, primarily in watercolour. He often enhanced his watercolours with bodycolour (gouache) or scratching out highlights to achieve greater definition and texture, particularly in rendering architectural stonework, foaming water, or bright skies. His draughtsmanship was precise, allowing him to capture the intricate details of Gothic tracery, castle battlements, and the delicate structure of foliage with remarkable accuracy.
His approach aligned well with the Victorian appreciation for 'truth to nature,' an ideal famously championed by the influential critic John Ruskin. While perhaps not directly following Ruskin's more intense Pre-Raphaelite prescriptions, Burrell-Smith's commitment to detailed observation placed him firmly within this broader cultural trend. His compositions are typically well-structured and picturesque, offering pleasing views that balance natural beauty with human elements like castles, ruins, or figures engaged in rural activities. He possessed considerable skill in depicting water, whether the calm surface of a lake or the turbulent flow of a river, and effectively conveyed the atmospheric conditions of the landscapes he painted. Compared to the broader, more atmospheric washes of artists like David Cox (1783-1859) or the dramatic Romanticism of J.M.W. Turner (1775-1851), Burrell-Smith's work offers a more controlled, detailed, and often serene vision of the world.
Subjects and Themes: Northumbrian Strongholds
A significant portion of James Burrell-Smith's oeuvre is dedicated to the depiction of the historic castles and architectural landmarks of Northumberland and County Durham. These subjects resonated deeply with Victorian audiences, evoking a sense of history, romance, and national pride. Alnwick Castle, the seat of the Dukes of Northumberland, was a recurring subject. Burrell-Smith painted it from various viewpoints, capturing its imposing medieval structure set against the landscape. His later residency in the town of Alnwick undoubtedly deepened his familiarity with this particular stronghold.
Bamburgh Castle, perched dramatically on a coastal outcrop, was another favourite subject. His watercolours often emphasize its majestic silhouette against the sea and sky, sometimes including scenes of coastal life on the beach below. Durham Cathedral, with its magnificent Romanesque architecture and commanding position above the River Wear, also featured prominently in his work. He depicted it from classic viewpoints, such as from the riverbanks, highlighting its grandeur and the picturesque quality of its setting. These works were not mere topographical records; they were carefully composed pictures designed to convey the character and historical significance of these iconic sites, rendered with his characteristic precision and attention to detail.
Subjects and Themes: Coastal and Lake District Views
Beyond the great castles and cathedrals, Burrell-Smith frequently turned his attention to the coastal scenery of the North East and the celebrated landscapes of the Lake District. The Northumberland coast, with its sandy bays, rocky cliffs, and fishing villages like Cullercoats and Tynemouth (with its prominent Priory and Castle), provided ample inspiration. His coastal scenes often capture the interplay of light on water, the textures of rocks and sand, and the daily activities of local communities, sometimes including fishing boats or figures gathering seaweed. These works showcase his ability to handle marine subjects with the same detailed care he applied to architecture.
The Lake District, a favoured destination for Victorian tourists and artists alike, also attracted Burrell-Smith. Following in the footsteps of earlier artists like Turner and later contemporaries such as Myles Birket Foster (1825-1899), he painted views of iconic lakes like Windermere, Ullswater, and Derwentwater. His Lake District watercolours typically emphasize the tranquil beauty of the region, with calm waters reflecting the surrounding fells, often bathed in soft light. These scenes catered to the popular taste for picturesque landscape and demonstrate his versatility in capturing different types of natural environments, always maintaining his hallmark clarity and detailed finish.
Subjects and Themes: Continental Travels
Like many successful British artists of his time, James Burrell-Smith undertook tours of continental Europe, seeking new subjects and broadening his artistic horizons. The Victorian era saw increased ease of travel, and destinations in France, Germany, Switzerland, and Italy became popular among artists and the public. Burrell-Smith's travels are reflected in numerous watercolours depicting famous European landscapes and cities.
The Rhine Valley in Germany, with its picturesque castles, vineyards, and river views, was a particularly rich source of material. He captured scenes of historic towns and ruined fortresses along the river, echoing the Romantic fascination with the region. Switzerland, with its dramatic Alpine scenery, also featured in his work, showcasing his ability to render mountains and lakes on a grand scale. Italy, the ultimate destination for many artists following the tradition of the Grand Tour, provided subjects such as views of Venice, with its canals and palaces like the Doge's Palace, and scenes in Rome. These Continental works demonstrate his consistent style applied to different geographical settings, offering his British audience detailed and appealing glimpses of foreign lands. His contemporary, Samuel Prout (1783-1852), was also renowned for detailed architectural views across the continent.
Exhibitions and Recognition
James Burrell-Smith was a highly active professional artist who regularly submitted his work to major London and provincial exhibitions throughout his career. This consistent presence was crucial for building reputation and securing sales in the competitive Victorian art market. He exhibited frequently at the prestigious Royal Academy of Arts in London, a key venue for any ambitious artist. His works were also shown regularly at the Society of British Artists (SBA), located at Suffolk Street, which provided another important platform, particularly for watercolourists.
Furthermore, Burrell-Smith exhibited at the British Institution and numerous provincial galleries, especially in the North of England, including venues in Newcastle, Liverpool, and Manchester. His prolific output and regular exhibition activity indicate a successful professional practice. While detailed records of specific patronage are sometimes scarce for artists of his standing, his connection with Alnwick suggests he may have enjoyed some level of local support, potentially including commissions or purchases related to the Duke of Northumberland's estates. The sheer number of his works that survive today, often appearing in auctions and collections, attests to his productivity and the contemporary appreciation for his detailed and accessible style.
Connections and Contemporaries
James Burrell-Smith's artistic life was interwoven with those of numerous other painters, both through direct association and through the shared context of the Victorian art world. His most direct connection was undoubtedly with his teacher, Thomas Miles Richardson Sr., and the subsequent generation of the Newcastle School, including T.M. Richardson Jr., John Wilson Carmichael, and George Balmer. He carried forward the school's tradition of detailed watercolour landscape. Later artists associated with the North East, like Charles Napier Hemy (1841-1917), known for his marine paintings, also worked within this regional milieu.
Beyond the Newcastle School, Burrell-Smith operated within the broader sphere of Victorian landscape painting. His detailed style finds parallels in the work of popular artists like Myles Birket Foster, although Foster often focused on more idyllic and sentimental rural scenes. He would have been aware of, and perhaps influenced by, the legacy of earlier watercolour masters like David Cox and Peter De Wint (1784-1849), even if their techniques differed. The emphasis on architectural detail in some of his work echoes that of Samuel Prout.
Exhibiting at the Royal Academy and SBA meant his work hung alongside a vast array of Victorian art, including that of the Pre-Raphaelites like John Everett Millais (1829-1896) and William Holman Hunt (1827-1910), whose meticulous detail, though applied to different subjects and with a different intensity, formed part of the era's artistic dialogue. He was also contemporary with landscape painters like Alfred William Hunt (1830-1896), another artist known for detailed watercolours, often of Durham. The overarching influence of John Ruskin's ideas on 'truth to nature' provided a critical backdrop for many landscape painters of the period, including Burrell-Smith. His career unfolded during a vibrant period for British watercolour painting, populated by numerous skilled practitioners serving a growing market for landscape art.
Later Life and Legacy
In his later years, James Burrell-Smith appears to have settled in Alnwick, Northumberland, the town housing the great castle he had depicted so often. This move likely solidified his connection to the region that had provided so much of his artistic inspiration. He continued to paint and exhibit, maintaining his established style. He passed away in Alnwick in 1897, leaving behind a substantial body of work.
James Burrell-Smith's legacy is that of a highly competent and appealing Victorian watercolourist. He excelled in the detailed, topographical tradition, particularly strong within the Newcastle School. His works serve as valuable historical records of the landscapes and architecture of Britain and parts of Europe in the nineteenth century. While he may not have been an innovator on the scale of Turner or Constable, his technical skill, particularly in watercolour, was considerable. His paintings remain popular with collectors interested in Victorian art and regional topography. They offer a window into the aesthetic preferences of the era – the love for the picturesque, the appreciation of detail, and the romantic attachment to history and landscape. He stands as a fine representative of the many skilled professional artists who shaped the visual culture of Victorian Britain. His works continue to be appreciated for their charm, detail, and evocative portrayal of place.
Conclusion
James Burrell-Smith carved a successful career as a landscape painter during a period of immense change and artistic activity in Britain. Rooted in the traditions of the Newcastle School and guided by the tutelage of T.M. Richardson Sr., he developed a distinctive and highly detailed watercolour style that found favour with the Victorian public. His meticulous depictions of Northumbrian castles, coastal scenes, the Lake District, and Continental views showcase his technical proficiency and keen eye for observation. As a regular exhibitor and prolific producer, he contributed significantly to the genre of topographical and picturesque landscape painting. While operating within established conventions rather than radically challenging them, Burrell-Smith achieved a high level of artistry, leaving behind a legacy of charming and historically valuable works that continue to capture the spirit of the places he painted and the era in which he lived. He remains an important figure for understanding the depth and breadth of Victorian watercolour practice, particularly in the North of England.
