British painter William Nicholson (1872-1949), long overshadowed by his more celebrated son Ben Nicholson, is finally receiving the recognition he deserves in a comprehensive new exhibition at Pallant House Gallery in Chichester, West Sussex. This marks the first full survey of the versatile artist's work in 25 years, showcasing his prolific and diverse output that spanned everything from theatrical posters to intimate still lifes.
Nicholson has been a recurring presence at Pallant House Gallery in recent years, though often in supporting roles. His complex and frequently misunderstood relationship with his eldest son Ben served as the introduction to the 2021 exhibition "Ben Nicholson: From the Studio." Four of his minimalist depictions of the South Downs were featured in the gallery's 2022 survey of Sussex landscapes, while his luminous painting "The Silver Casket and Red Leather Box" (1920) was among the standout pieces in last year's collection of Modern British still lifes.
"Past exhibitions have often compartmentalized the different aspects of Nicholson's work, focusing exclusively on either his paintings or his graphic work," explains Simon Martin, director of Pallant House Gallery. "This show examines him comprehensively, demonstrating his versatility across different media and genres and exploring how they inform and relate to each other."
Nicholson's artistic output was remarkably prolific and eclectic, encompassing several distinct areas of creativity. He created spectacularly dramatic posters in collaboration with his brother-in-law James Pryde under the joint pseudonym "the Beggarstaff Brothers." His wonderfully witty woodcuts included the celebrated portfolios "An Alphabet" and "London Types," which showcased his keen eye for character and humor. He also worked extensively in book illustration and accepted commissions for theatrical productions, most notably designing the costumes for the first performance of "Peter Pan."
Portrait painting served as Nicholson's primary source of income, and he painted both children and what he referred to as his "smart sitters" – wealthy and influential clients who could afford his services. However, his personal artistic passion lay in the ravishing still lifes and serene landscapes he created for his own enjoyment and artistic fulfillment.
Nicholson defies easy categorization, which has sometimes led critics to dismiss him as a minor artist. He belonged to no artistic movement, consistently declined invitations to join exhibiting societies or artistic organizations, and remained steadfastly private about his own work and artistic philosophy. In many ways, he embodied the archetypal Edwardian gentleman – a dandy who painted while dressed in his customary outfit of bow tie, fancy waistcoat, white trousers, and patent leather shoes.
Like his friend Rudyard Kipling, Nicholson inhabited a world dominated by the British Empire and shaped by the Great War. However, he was not merely a flatterer of the rich and powerful, as evidenced by his imposing full-length portrait of Duffadar Valayat Shah, the Muslim orderly of Lord Hardinge, the Viceroy of India (1915). This remarkable painting, on loan from Nottingham Castle Museum, is endowed with far greater dignity and emotional depth than Nicholson could muster for the Viceroy himself, revealing the artist's ability to see beyond social hierarchies.
While much of Nicholson's mature work appears to go against the grain of Modernist practice, Martin notes that "his approach to rendering light and tone was essentially abstract and conveys an aesthetic hardly less pared-down than that exemplified by his son Ben's white reliefs." This observation suggests that Nicholson was more innovative and forward-thinking than previously recognized.
Nicholson has earned widespread admiration for his masterful brushwork, his unashamed sensuality, and his unrivaled ability to capture the specific quality of light as it falls on glass or metal surfaces. The exhibition will feature many of his most familiar and beloved images, including Gertrude Jekyll's battered old gardening boots, which he immortalized on canvas while waiting for his reluctant subject to sit for her formal portrait.
Visitors will also see his depictions of the remote buildings at Judds Farm, dramatically silhouetted against the South Downs near Rottingdean, and the lustrous yet understated "Gold Jug," on loan from the Royal Collection. These works demonstrate Nicholson's exceptional ability to find beauty and meaning in everyday objects and landscapes.
The exhibition aims to demonstrate that Nicholson was a far more sophisticated and original figure than the man who, in his son Ben's somewhat dismissive words, "merely wanted to paint." By presenting his work across multiple media and examining the connections between his various artistic endeavors, the show reveals an artist of considerable depth, technical skill, and creative vision who deserves recognition in his own right, independent of his famous son's achievements.
"William Nicholson" will be on display at Pallant House Gallery in Chichester from November 22 through May 10, 2026, offering visitors a rare opportunity to experience the full scope of this underappreciated British master's artistic legacy.
