James David Smillie (1833-1909) stands as a significant, if sometimes underappreciated, figure in the landscape of nineteenth-century American art. A master of multiple disciplines, he excelled as an engraver, etcher, watercolorist, and oil painter, leaving behind a rich legacy that reflects the artistic currents of his time. From the meticulous demands of banknote engraving to the evocative freedom of landscape painting, Smillie navigated diverse artistic worlds, contributing significantly to the development and appreciation of various media in the United States. His career was marked by a profound connection to the natural world, a dedication to artistic organizations, and a commitment to education, ensuring his influence extended beyond his own creations.
Early Life and Artistic Inheritance
Born in New York City on January 16, 1833, James David Smillie was immersed in the world of art from his earliest years. His father, James Smillie (1807-1885), was a highly respected Scottish engraver who had immigrated to the United States in 1829, settling first in Quebec before moving to New York. The elder Smillie quickly established himself as a leading figure in American engraving, particularly renowned for his landscape and banknote work. He became an Associate of the National Academy of Design in 1832 and a full Academician in 1851, a testament to his standing in the artistic community.
It was under his father's exacting tutelage that young James David received his foundational artistic training. The Smillie household was, in essence, an active workshop. From the tender age of eight, James David was initiated into the intricate techniques of etching. By fourteen, a remarkable feat for his age, he had already completed a series of plates illustrating John Milton's epic poem, Paradise Lost. This early project demonstrated not only his precocious technical skill but also an early engagement with grand literary themes, a characteristic that would subtly inform his later appreciation for the sublime in nature.
The family business, Smillie & Hinshelwood, specialized in banknote engraving, a highly demanding field requiring immense precision and artistry to deter counterfeiting. James David worked alongside his father in this enterprise, honing his skills in line engraving on steel and copper. This commercial work, while perhaps not as glamorous as fine art, provided invaluable discipline and a mastery of detail that would serve him well throughout his multifaceted career. His involvement in such precise work also extended to cartography; he notably participated in the creation of maps for the Mexican Boundary Survey in 1857, further showcasing his versatility and technical prowess.
The Pivotal Shift to Painting
While engraving formed the bedrock of his early career, James David Smillie harbored a growing passion for painting. The year 1864 marked a significant turning point. He began to dedicate more of his energy to this medium, initially focusing on watercolors and oil landscapes. This transition was not an abandonment of his engraving skills but rather an expansion of his artistic vocabulary. His deep understanding of line, tone, and composition, cultivated through years of engraving, provided a strong foundation for his painterly pursuits.
A crucial catalyst in this shift was his journey to Europe in 1862 and again in 1864-1865. Such travels were almost a rite of passage for ambitious American artists of the era, offering exposure to the masterpieces of the Old Masters and the contemporary art scenes of London and Paris. While specific details of his European studies are not extensively documented, the experience undoubtedly broadened his artistic horizons and reinforced his burgeoning interest in landscape painting. He would have encountered the works of the Barbizon School painters in France, such as Jean-Baptiste-Camille Corot, Jean-François Millet, and Théodore Rousseau, whose emphasis on direct observation of nature and atmospheric effects was influencing landscape art worldwide.
Upon his return to the United States, Smillie increasingly focused on capturing the American scenery. He became particularly known for his depictions of mountainous regions, a subject that resonated deeply with the Romantic sensibilities of the 19th century and the prevailing spirit of American landscape art, heavily influenced by the Hudson River School.
Chronicler of the American Wilderness
James David Smillie's landscape paintings, in both oil and watercolor, often celebrated the grandeur and untamed beauty of the American continent. He undertook numerous sketching expeditions, venturing into the rugged terrains that were increasingly capturing the national imagination. His travels took him to the majestic Sierra Nevada mountains in California, the dramatic vistas of the Colorado River, the Adirondacks in New York, and the White Mountains of New Hampshire. These journeys provided him with a wealth of subject matter and a profound connection to the landscapes he depicted.
His work from this period often aligns with the ethos of the Hudson River School, a movement characterized by its detailed, realistic, and often idealized portrayals of American nature. Artists like Thomas Cole, Asher B. Durand, Frederic Edwin Church, and Albert Bierstadt had established a tradition of landscape painting that emphasized the sublime and the picturesque, often imbuing their scenes with a sense of divine presence or nationalistic pride. Smillie’s work, particularly his earlier landscapes, shares this reverence for nature and meticulous attention to detail.
Works such as Twilight in the Sierras exemplify his ability to capture the atmospheric effects and monumental scale of the American West. His paintings often convey a sense of solitude and awe, inviting the viewer to contemplate the power and beauty of the natural world. He was adept at rendering the play of light and shadow across mountain ranges and the intricate textures of rock formations and foliage. His European experiences also found expression in works like Cliffs of Normandy, demonstrating his ability to apply his landscape sensibility to different environments.
Champion of Watercolor and the Etching Revival
Beyond his oil paintings, James David Smillie made significant contributions to the mediums of watercolor and etching, not only as a practitioner but also as an organizer and advocate.
In 1866, he was a key figure in the founding of the American Society of Painters in Water Colors, later known as the American Watercolor Society. This was a pivotal moment for the medium in the United States. Watercolor had often been regarded as a preparatory medium or an amateur pursuit, secondary to the perceived gravitas of oil painting. Smillie, along with other artists like Samuel Colman and William Trost Richards, sought to elevate its status. He served as the society's treasurer and, significantly, as its president from 1873 to 1878. Under his leadership, the society flourished, holding regular exhibitions that showcased the versatility and expressive potential of watercolor. His own watercolors were praised for their luminosity, freshness, and technical skill, demonstrating the medium's capacity for finished, exhibition-worthy art. His dedication helped pave the way for later masters of American watercolor like Winslow Homer and John Singer Sargent.
Smillie was also at the forefront of the Etching Revival in America. This movement, which gained momentum in the latter half of the 19th century, championed etching as an original artistic medium, distinct from its use for reproductive purposes. In 1877, he co-founded the New York Etching Club, alongside artists such as Robert Swain Gifford and Leroy Milton Yale. The club aimed to promote original etching, encourage experimentation, and educate the public about the medium's unique qualities. Smillie's own etchings, often depicting landscapes and rustic scenes, were admired for their delicate linework, rich tonal variations, and atmospheric depth. Works like Old Cedars, Coast of Maine (1879) and Landscape and Sheep (1878) are fine examples of his mastery in this medium. He often employed drypoint to enhance the velvety richness of his lines, a technique also favored by contemporaries like James Abbott McNeill Whistler.
His involvement in these organizations underscores his commitment to fostering a vibrant and diverse artistic community in America. He understood the importance of collective effort in promoting artistic standards and appreciation.
Artistic Style, Techniques, and Evolution
James David Smillie's artistic output is characterized by its technical proficiency and a gradual evolution in style. His early training as an engraver instilled in him a remarkable control of line and a keen eye for detail. This precision is evident even in his painterly works, particularly in the careful delineation of forms and textures.
In his landscape paintings, Smillie initially worked within the detailed, realistic tradition of the Hudson River School. His compositions were often carefully structured, with a focus on capturing the specific character of a place. He was skilled at rendering the geological formations of mountains, the varied textures of foliage, and the subtle gradations of atmospheric perspective. His palette, while capable of capturing the brilliant light of the American West, often favored a more subdued, tonal harmony, especially in his Eastern landscapes and European scenes.
As his career progressed, and as new artistic movements like Tonalism and Impressionism began to influence American art, Smillie's style showed signs of loosening. While he never fully embraced Impressionism's broken brushwork or scientific color theory in the manner of Childe Hassam or Theodore Robinson, his later works often exhibit a greater emphasis on mood, atmosphere, and subjective interpretation. There's a discernible shift towards a more poetic and evocative rendering of nature, where the emotional response to the landscape becomes as important as its literal depiction. This can be seen in a more painterly handling and a softer focus, suggesting an interest in capturing fleeting moments and the intangible qualities of light and air.
His etchings demonstrate a similar blend of precision and expressiveness. He masterfully controlled the bitten line to create a wide range of textures and tones, from delicate, silvery grays to deep, velvety blacks. His use of drypoint added a characteristic softness and richness to his prints. The subjects of his etchings often mirrored those of his paintings – landscapes, coastal scenes, and architectural studies – but the medium allowed for a more intimate and graphic exploration of these themes.
Institutional Affiliations and Educational Endeavors
James David Smillie was deeply embedded in the institutional art world of New York. His contributions to the National Academy of Design were significant. He was elected an Associate (ANA) in 1865, shortly after his decisive turn towards painting, and became a full Academician (NA) in 1876. These honors recognized his growing stature as a painter and his contributions to the American art scene. The Academy was the premier art institution in the country, and membership was a mark of high professional achievement. Smillie regularly exhibited his work at the Academy's annual exhibitions.
Beyond membership, Smillie also dedicated himself to art education. He served as a teacher at the National Academy of Design's schools, sharing his knowledge and experience with younger generations of artists. From 1894 to 1903, he also held a teaching position at New York University, further extending his influence as an educator. His background in both the precise art of engraving and the more expressive realm of painting made him a versatile and knowledgeable instructor.
He was also a member of the prestigious Century Association (often referred to as the Century Club), joining in 1877. This private club, founded in 1847, brought together artists, writers, and patrons of the arts and sciences, fostering intellectual and social exchange among New York's cultural elite. His membership indicates his respected position within this influential circle.
Family, Collaborations, and Artistic Circle
Artistry ran deep in the Smillie family. James David's primary artistic collaborator and mentor was, of course, his father, James Smillie. Their early work together in banknote engraving and on projects like the illustrations for Picturesque America (edited by William Cullen Bryant, though the text mentions American Scenery which was an earlier, similar project often featuring the elder Smillie's work) laid the groundwork for James David's career. The elder Smillie's engravings after paintings by artists like Thomas Cole and Asher B. Durand were instrumental in popularizing American landscape art.
James David's younger brother, George Henry Smillie (1840-1921), also became a notable landscape painter, known for his charming and often more luminist depictions of coastal and pastoral scenes. The two brothers, while developing distinct styles, shared a common artistic heritage and often exhibited together. Their careers represent a fascinating continuation and evolution of the Smillie family's artistic legacy. Another brother, also named James Smillie (though often referred to as James Smillie Jr. to distinguish from his father), was also involved in engraving.
Through his involvement in the American Watercolor Society, the New York Etching Club, and the National Academy of Design, James David Smillie was part of a wide network of prominent artists. His contemporaries and colleagues included figures like Sanford Robinson Gifford, a master of Luminism; Jervis McEntee, known for his melancholic autumnal landscapes; and Thomas Moran, whose dramatic depictions of the American West, particularly Yellowstone, often utilized watercolor and etching in addition to oil. Smillie's interactions with these and other artists would have fostered a rich exchange of ideas and techniques.
He married Anna C. Cook, sometimes referred to as Anna Cook Smillie, in 1866. She was also an artist, primarily a painter of still lifes and flowers, and exhibited her work at the National Academy of Design. They had at least two children, a son and a daughter. This artistic partnership within his marriage further underscores the pervasive role of art in Smillie's life.
Notable Works and Their Significance
James David Smillie's oeuvre is extensive and varied. Some of his key works include:
Plates for Milton's Paradise Lost (c. 1847): An early testament to his prodigious talent as an engraver, undertaken in his teenage years.
Twilight in the Sierras (oil on canvas): Representative of his engagement with the grandeur of the American West, capturing the atmospheric effects and monumental scale of the Sierra Nevada mountains.
Cliffs of Normandy (oil on canvas): Reflects his European travels and his ability to apply his landscape painting skills to diverse geographical settings.
Old Cedars, Coast of Maine (etching, 1879): A celebrated example of his work in the Etching Revival, showcasing his delicate linework and atmospheric depth. This work was published in the American Art Review, a significant journal that promoted American art and etching.
Landscape and Sheep (etching, 1878): Another fine example of his pastoral etchings, demonstrating his skill in rendering textures and bucolic scenes.
Assyrian Valley (etching, 1872): Likely part of a larger series or illustrative project, showcasing his ability to depict varied landscapes with historical or literary connotations.
Mirror Lake, Yosemite (watercolor): A quintessential example of his watercolor work, capturing the reflective beauty and iconic scenery of Yosemite Valley, a subject also famously painted by Albert Bierstadt and photographed by Carleton Watkins.
Panoramic Autumn Vista with Snowcapped Mountains in the Distance (watercolor): Highlights his skill in rendering expansive views and the vibrant colors of autumn, combined with the distant majesty of snow-covered peaks.
Illustrations for William Cullen Bryant's Picturesque America (published 1872-1874): While his father was more heavily involved, James David also contributed to this landmark publication, which used engravings to bring American scenery to a wide audience. His skills were also utilized for other illustrated books of the period.
His works are held in the collections of numerous prestigious institutions, including the Metropolitan Museum of Art in New York, the Boston Museum of Fine Arts, the Smithsonian American Art Museum, the New York Public Library, and the Corcoran Gallery of Art (whose collection is now largely part of the National Gallery of Art, Washington D.C.), among others. The presence of his art in these collections attests to its historical and artistic importance.
He also reportedly collaborated with a Bruce Wallace on poetry about Yosemite, indicating a literary sensibility that complemented his visual artistry.
Later Years and Enduring Legacy
James David Smillie remained an active artist and a respected member of the New York art community throughout his later years. He continued to paint, etch, and exhibit, and his dedication to art education persisted through his teaching roles. He witnessed significant changes in the American art world, from the dominance of the Hudson River School to the rise of Impressionism, Tonalism, and other modern currents. While his own style evolved, he remained rooted in a deep appreciation for craftsmanship and the expressive power of nature.
He passed away in New York City on September 14, 1909, at the age of 76. He was buried in Green-Wood Cemetery in Brooklyn, a historic cemetery that is the final resting place for many notable figures, including numerous artists of his era.
James David Smillie's legacy is multifaceted. As an engraver, he upheld the high standards of a demanding craft, contributing to both commercial and fine art applications. As a painter, particularly in watercolor, he was a pioneer, helping to elevate the medium's status in America. His landscapes captured the beauty and grandeur of the American continent, contributing to the nation's developing cultural identity. As an etcher, he was a key figure in the American Etching Revival, promoting the medium as a vital form of original artistic expression.
Perhaps equally important were his contributions as an organizer and educator. Through his leadership in the American Watercolor Society and the New York Etching Club, and his teaching at the National Academy of Design and New York University, he helped to shape the institutional framework of American art and nurture future generations of artists.
While perhaps not as widely known today as some of his more flamboyant contemporaries, James David Smillie was a consummate artist whose skill, versatility, and dedication left an indelible mark on 19th-century American art. His work serves as a vital link between the meticulous traditions of engraving and the evolving expressions of American landscape painting, and his efforts to promote and professionalize various artistic media had a lasting impact. He remains a figure worthy of continued study and appreciation for his quiet mastery and significant contributions to the rich tapestry of American art history.
