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Oil Paintings Come From United Kingdom
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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.

 

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Atkinson Grimshaw The Old Mill Cheshire oil painting

Painting ID::  44622

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Atkinson Grimshaw
The Old Mill Cheshire
mk174 1869 Oil on board 62.3x87.5cm
   
   
     

 

 

Atkinson Grimshaw Ingleborough from under White Scar oil painting

Painting ID::  44623

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Atkinson Grimshaw
Ingleborough from under White Scar
mk174 1868 72x91.5cm
   
   
     

 

 

Atkinson Grimshaw Autumn Glory oil painting

Painting ID::  44624

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Atkinson Grimshaw
Autumn Glory
mk174 1869 Oil on board 62.3x87.5cm
   
   
     

 

 

Atkinson Grimshaw Under the Hollies,Roundhay Park,Leeds oil painting

Painting ID::  44625

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Atkinson Grimshaw
Under the Hollies,Roundhay Park,Leeds
mk174 1872 Oil on board 54.6x43.8cm
   
   
     

 

 

Atkinson Grimshaw The Deserted House oil painting

Painting ID::  44626

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Atkinson Grimshaw
The Deserted House
mk174 1871 Oil on board 29.2x45.7cm
   
   
     

 

 

Atkinson Grimshaw Tree Shadows on the Park Wall,Roundhay Park Leeds oil painting

Painting ID::  44627

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Atkinson Grimshaw
Tree Shadows on the Park Wall,Roundhay Park Leeds
mk174 1872 Oil on card 55.2x44.2cm
   
   
     

 

 

Atkinson Grimshaw Knostrop Hall Early Morning oil painting

Painting ID::  44628

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Atkinson Grimshaw
Knostrop Hall Early Morning
mk174 1870 59.7x90.2cm
   
   
     

 

 

Atkinson Grimshaw Snowbound oil painting

Painting ID::  44629

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Atkinson Grimshaw
Snowbound
mk174 1883-4 Oil on canvas 76.2x50.8cm
   
   
     

 

 

Atkinson Grimshaw Waterloo Lake Roundhay Park Leeds oil painting

Painting ID::  44631

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Atkinson Grimshaw
Waterloo Lake Roundhay Park Leeds
mk174 1872 Oil on board 21.6x33.6cm
   
   
     

 

 

Atkinson Grimshaw Full Moon Behind Cirrus Cloud From the Roundhay Park Castle Battlements oil painting

Painting ID::  44632

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Atkinson Grimshaw
Full Moon Behind Cirrus Cloud From the Roundhay Park Castle Battlements
mk174 1872 Oil on board 43x54.5cm
   
   
     

 

 

Atkinson Grimshaw Dulce Domum oil painting

Painting ID::  44633

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Atkinson Grimshaw
Dulce Domum
mk174 1876-85 Oil on canvas 83x122cm
   
   
     

 

 

Atkinson Grimshaw Autumn Regrets oil painting

Painting ID::  44634

X 
 

Atkinson Grimshaw
Autumn Regrets
mk174 1882 Oil on canvas 61x91.5cm
   
   
     

 

 

Atkinson Grimshaw Meditation oil painting

Painting ID::  44635

X 
 

Atkinson Grimshaw
Meditation
mk174 ca.1875 Oil on canvas
   
   
     

 

 

Atkinson Grimshaw Summer oil painting

Painting ID::  44636

X 
 

Atkinson Grimshaw
Summer
mk174 1875 Oil on canvas 63.5x76.2cm
   
   
     

 

 

Atkinson Grimshaw Scene at the Theatre oil painting

Painting ID::  44637

X 
 

Atkinson Grimshaw
Scene at the Theatre
mk174 c.1880-90 Pencil with ink 12.2x18.2cm
   
   
     

 

 

Atkinson Grimshaw Rouce at Night oil painting

Painting ID::  44638

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Atkinson Grimshaw
Rouce at Night
mk174 1878 Oil on canvas 81.2x119.4cm
   
   
     

 

 

Atkinson Grimshaw My Wee White Rose oil painting

Painting ID::  44639

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Atkinson Grimshaw
My Wee White Rose
mk174 1882 Oil on canvas 76.5x48.2cm
   
   
     

 

 

Atkinson Grimshaw Detail of Dulce Domum oil painting

Painting ID::  44640

X 
 

Atkinson Grimshaw
Detail of Dulce Domum
mk174
   
   
     

 

 

Atkinson Grimshaw Two Thousand Years Ago oil painting

Painting ID::  44641

X 
 

Atkinson Grimshaw
Two Thousand Years Ago
mk174 1878 Oil on Canvas laid on panel 21.5x35.6cm
   
   
     

 

 

Atkinson Grimshaw Fiamella oil painting

Painting ID::  44643

X 
 

Atkinson Grimshaw
Fiamella
mk174 1883 Oil on canvas 61x45.7cm
   
   
     

 

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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.