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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 In the pleasure oil painting

Painting ID::  44644

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Atkinson Grimshaw
In the pleasure
mk174 1875 Oil on canvas 45.7x73.7cm
   
   
     

 

 

Atkinson Grimshaw Iris oil painting

Painting ID::  44645

X 
 

Atkinson Grimshaw
Iris
mk174 1886 Oil on canvas 81.5x122.2cm
   
   
     

 

 

Atkinson Grimshaw Il Penseroso oil painting

Painting ID::  44646

X 
 

Atkinson Grimshaw
Il Penseroso
mk174 1875 Oil on canvas 59.7x49.5cm
   
   
     

 

 

Atkinson Grimshaw Detail of Two Thousand Year Ago oil painting

Painting ID::  44647

X 
 

Atkinson Grimshaw
Detail of Two Thousand Year Ago
mk174
   
   
     

 

 

Atkinson Grimshaw The Old Gates Yew Court  Scalby near Scarborough oil painting

Painting ID::  44648

X 
 

Atkinson Grimshaw
The Old Gates Yew Court Scalby near Scarborough
mk174 1874 Oil on paper on panel 17.8x43.2cm
   
   
     

 

 

Atkinson Grimshaw Scarborough Bay oil painting

Painting ID::  44649

X 
 

Atkinson Grimshaw
Scarborough Bay
mk174 1871 Oil on canvas 60.4x90.2cm
   
   
     

 

 

Atkinson Grimshaw Sic Transit Gloria Mundi The Burning of the Spa Saloon Scarborough oil painting

Painting ID::  44650

X 
 

Atkinson Grimshaw
Sic Transit Gloria Mundi The Burning of the Spa Saloon Scarborough
mk174 1876 Oil on canvas 82.5x122cm
   
   
     

 

 

Atkinson Grimshaw Scarborough from Seats near the Grand Hotel oil painting

Painting ID::  44651

X 
 

Atkinson Grimshaw
Scarborough from Seats near the Grand Hotel
mk174 1878 Oil on canvas 50.8x76.2cm
   
   
     

 

 

Atkinson Grimshaw Detail of Scarborough Bay oil painting

Painting ID::  44652

X 
 

Atkinson Grimshaw
Detail of Scarborough Bay
mk174
   
   
     

 

 

Atkinson Grimshaw A Street in Old Scarborough oil painting

Painting ID::  44653

X 
 

Atkinson Grimshaw
A Street in Old Scarborough
mk174 c.1877 Pencil 12.2x18.2cm
   
   
     

 

 

Atkinson Grimshaw Spa after the Fire oil painting

Painting ID::  44654

X 
 

Atkinson Grimshaw
Spa after the Fire
mk174 1876 Pencil 12.2x18.2cm
   
   
     

 

 

Atkinson Grimshaw In Peril oil painting

Painting ID::  44655

X 
 

Atkinson Grimshaw
In Peril
mk174 c.1877-9 Pencil 12.2x36.4cm
   
   
     

 

 

Atkinson Grimshaw Elaine oil painting

Painting ID::  44656

X 
 

Atkinson Grimshaw
Elaine
mk174 1877 Oil on canvas 82.5x122cm
   
   
     

 

 

Atkinson Grimshaw In Peril oil painting

Painting ID::  44657

X 
 

Atkinson Grimshaw
In Peril
mk174 Oil on canvas 81.3x119.4cm
   
   
     

 

 

Atkinson Grimshaw The Rector-s Garden Queen of the Lilies oil painting

Painting ID::  44658

X 
 

Atkinson Grimshaw
The Rector-s Garden Queen of the Lilies
mk174 1877 Oil on canvas 80x122cm
   
   
     

 

 

Atkinson Grimshaw A Street in Old Scarborough oil painting

Painting ID::  44659

X 
 

Atkinson Grimshaw
A Street in Old Scarborough
mk174 1877 Oil on board laid on panel 42x26.7cm
   
   
     

 

 

Atkinson Grimshaw Forge Valley,near Scarborough oil painting

Painting ID::  44660

X 
 

Atkinson Grimshaw
Forge Valley,near Scarborough
mk174 1875 Oil on canvas
   
   
     

 

 

Atkinson Grimshaw Liverpool Quary by Moonlight oil painting

Painting ID::  44661

X 
 

Atkinson Grimshaw
Liverpool Quary by Moonlight
mk174 1887 Oil on canvas 61x91.4cm
   
   
     

 

 

Atkinson Grimshaw Prince-s Dock Hull oil painting

Painting ID::  44662

X 
 

Atkinson Grimshaw
Prince-s Dock Hull
mk174 1887 Oil on card 30.5x49.5cm
   
   
     

 

 

Atkinson Grimshaw Shipping on the Clyde oil painting

Painting ID::  44663

X 
 

Atkinson Grimshaw
Shipping on the Clyde
mk174 1881 Oil on board 30.5x50.8cm
   
   
     

 

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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.