|
|
|
|
Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
|
Atkinson Grimshaw British
1836-1893
Atkinson Grimshaw Gallery
Grimshaw's primary influence was the Pre-Raphaelites. True to the Pre-Raphaelite style, he put forth landscapes of accurate color and lighting, and vivid detail. He often painted landscapes that typified seasons or a type of weather; city and suburban street scenes and moonlit views of the docks in London, Leeds, Liverpool, and Glasgow also figured largely in his art. By applying his skill in lighting effects, and unusually careful attention to detail, he was often capable of intricately describing a scene, while strongly conveying its mood. His "paintings of dampened gas-lit streets and misty waterfronts conveyed an eerie warmth as well as alienation in the urban scene."
Dulce Domum (1855), on whose reverse Grimshaw wrote, "mostly painted under great difficulties," captures the music portrayed in the piano player, entices the eye to meander through the richly decorated room, and to consider the still and silent young lady who is meanwhile listening. Grimshaw painted more interior scenes, especially in the 1870s, when he worked until the influence of James Tissot and the Aesthetic Movement.
On Hampstead Hill is considered one of Grimshaw's finest, exemplifying his skill with a variety of light sources, in capturing the mood of the passing of twilight into the onset of night. In his later career this use of twilight, and urban scenes under yellow light were highly popular, especially with his middle-class patrons.
His later work included imagined scenes from the Greek and Roman empires, and he also painted literary subjects from Longfellow and Tennyson ?? pictures including Elaine and The Lady of Shalott. (Grimshaw named all of his children after characters in Tennyson's poems.)
In the 1880s, Grimshaw maintained a London studio in Chelsea, not far from the comparable facility of James Abbott McNeill Whistler. After visiting Grimshaw, Whistler remarked that "I considered myself the inventor of Nocturnes until I saw Grimmy's moonlit pictures."[9] Unlike Whistler's Impressionistic night scenes, however, Grimshaw worked in a realistic vein: "sharply focused, almost photographic," his pictures innovated in applying the tradition of rural moonlight images to the Victorian city, recording "the rain and mist, the puddles and smoky fog of late Victorian industrial England with great poetry."
Some artists of Grimshaw's period, both famous and obscure, generated rich documentary records; Vincent Van Gogh and James Smetham are good examples. Others, like Edward Pritchett, left nothing. Grimshaw left behind him no letters, journals, or papers; scholars and critics have little material on which to base their understanding of his life and career.
Grimshaw died 13 October 1893, and is buried in Woodhouse cemetery, Leeds. His reputation rested, and his legacy is probably based on, his townscapes. The second half of the twentieth century saw a major revival of interest in Grimshaw's work, with several important exhibits of his canon. |
|
|
|
|
|
|
Atkinson Grimshaw View of Heath Street by Night 1882
144.88 x 211.42 in
|
|
|
|
|
|
|
|
|
|
Atkinson Grimshaw Autumn Morning Oil on canvas
20.00 x 30.00 in
|
|
|
|
|
|
|
|
|
|
Atkinson Grimshaw In Peril Medium Oil on canvas
Dimensions 76.2 ?? 127 cm
|
|
|
|
|
|
|
|
|
|
Atkinson Grimshaw rNightfall down the Thames (nn03) 1880
Oil on board 40.2 x 63.1 cm 15 7/8 x 24 7/8 in Leeds City Art Gallery Leeds
|
|
|
|
|
|
|
|
|
|
Atkinson Grimshaw Bowder Ston, mk81
Borrowdale
c.1863-8
|
|
|
|
|
|
|
|
|
|
Atkinson Grimshaw Bowder Ston mk81
Borrowdale
c.1863-8
|
|
|
|
|
|
|
|
|
|
Atkinson Grimshaw Spring mk174
1875
Oil on canvas
61x91cm
|
|
|
|
|
|
|
|
|
|
Atkinson Grimshaw Fair Maids of February mk174
1862
Oil on canvas
35.6x30.5cm
|
|
|
|
|
|
|
|
|
|
Atkinson Grimshaw A Mossy Glen mk174
1864
Oil on board
54.7x65cm
|
|
|
|
|
|
|
|
|
|
Atkinson Grimshaw Blea Tarn at First Light,Langdale Pikes in the Distance mk174
1865
Oil on canvas
35.5x45.7cm
|
|
|
|
|
|
|
|
|
|
Atkinson Grimshaw From Nature near Adel mk174
1861
Oil on board
37.5x28.9cm
|
|
|
|
|
|
|
|
|
|
Atkinson Grimshaw Windermere mk174
1863
Oil on canvas
48.5x100.6cm
|
|
|
|
|
|
|
|
|
|
Atkinson Grimshaw The Bowder Stone Borrowdale mk174
c.1865
Oil on canvas
40.5x54cm
|
|
|
|
|
|
|
|
|
|
Atkinson Grimshaw The Wharfe above Bolton Woods,with Barden Tower in the Distance mk174
1868
Oil on canvas
71.1x91.5cm
|
|
|
|
|
|
|
|
|
|
Atkinson Grimshaw Barden Tower,Yorkshire mk174
1868
Watercolour and Bodycolour
39.4x54cm
|
|
|
|
|
|
|
|
|
|
Atkinson Grimshaw Bolton Woods mk174
1870
Oil on board
76.2x63.5cm
|
|
|
|
|
|
|
|
|
|
Atkinson Grimshaw Twilight mk174
1869
Oil on board
39.4x53.4cm
|
|
|
|
|
|
|
|
|
|
Atkinson Grimshaw Ghyll Beck Barden Yorkshire Early Spring mk174
1867
Oil on board
76.2x63.5cm
|
|
|
|
|
|
|
|
|
|
Atkinson Grimshaw Burnsall Valley Wharfedale mk174
c.1868
Watercolour with bodycolour and gum arabic
25.4x19.1cm
|
|
|
|
|
|
|
|
|
|
Atkinson Grimshaw Sunset from Chilworth Common mk174
Hampshire
1868
Oil on canvas
39.5x60cm
|
|
|
|
|
|
|
|
| |
|
|
Atkinson Grimshaw
|
British
1836-1893
Atkinson Grimshaw Gallery
Grimshaw's primary influence was the Pre-Raphaelites. True to the Pre-Raphaelite style, he put forth landscapes of accurate color and lighting, and vivid detail. He often painted landscapes that typified seasons or a type of weather; city and suburban street scenes and moonlit views of the docks in London, Leeds, Liverpool, and Glasgow also figured largely in his art. By applying his skill in lighting effects, and unusually careful attention to detail, he was often capable of intricately describing a scene, while strongly conveying its mood. His "paintings of dampened gas-lit streets and misty waterfronts conveyed an eerie warmth as well as alienation in the urban scene."
Dulce Domum (1855), on whose reverse Grimshaw wrote, "mostly painted under great difficulties," captures the music portrayed in the piano player, entices the eye to meander through the richly decorated room, and to consider the still and silent young lady who is meanwhile listening. Grimshaw painted more interior scenes, especially in the 1870s, when he worked until the influence of James Tissot and the Aesthetic Movement.
On Hampstead Hill is considered one of Grimshaw's finest, exemplifying his skill with a variety of light sources, in capturing the mood of the passing of twilight into the onset of night. In his later career this use of twilight, and urban scenes under yellow light were highly popular, especially with his middle-class patrons.
His later work included imagined scenes from the Greek and Roman empires, and he also painted literary subjects from Longfellow and Tennyson ?? pictures including Elaine and The Lady of Shalott. (Grimshaw named all of his children after characters in Tennyson's poems.)
In the 1880s, Grimshaw maintained a London studio in Chelsea, not far from the comparable facility of James Abbott McNeill Whistler. After visiting Grimshaw, Whistler remarked that "I considered myself the inventor of Nocturnes until I saw Grimmy's moonlit pictures."[9] Unlike Whistler's Impressionistic night scenes, however, Grimshaw worked in a realistic vein: "sharply focused, almost photographic," his pictures innovated in applying the tradition of rural moonlight images to the Victorian city, recording "the rain and mist, the puddles and smoky fog of late Victorian industrial England with great poetry."
Some artists of Grimshaw's period, both famous and obscure, generated rich documentary records; Vincent Van Gogh and James Smetham are good examples. Others, like Edward Pritchett, left nothing. Grimshaw left behind him no letters, journals, or papers; scholars and critics have little material on which to base their understanding of his life and career.
Grimshaw died 13 October 1893, and is buried in Woodhouse cemetery, Leeds. His reputation rested, and his legacy is probably based on, his townscapes. The second half of the twentieth century saw a major revival of interest in Grimshaw's work, with several important exhibits of his canon.
|
|
|
|
|
|