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Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
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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 mk174
1875
Oil on canvas
45.7x73.7cm
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Atkinson Grimshaw Iris mk174
1886
Oil on canvas
81.5x122.2cm
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Atkinson Grimshaw Il Penseroso mk174
1875
Oil on canvas
59.7x49.5cm
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Atkinson Grimshaw Detail of Two Thousand Year Ago mk174
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Atkinson Grimshaw The Old Gates Yew Court Scalby near Scarborough mk174
1874
Oil on paper on panel
17.8x43.2cm
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Atkinson Grimshaw Scarborough Bay mk174
1871
Oil on canvas
60.4x90.2cm
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Atkinson Grimshaw Sic Transit Gloria Mundi The Burning of the Spa Saloon Scarborough mk174
1876
Oil on canvas
82.5x122cm
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Atkinson Grimshaw Scarborough from Seats near the Grand Hotel mk174
1878
Oil on canvas
50.8x76.2cm
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Atkinson Grimshaw Detail of Scarborough Bay mk174
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Atkinson Grimshaw A Street in Old Scarborough mk174
c.1877
Pencil
12.2x18.2cm
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Atkinson Grimshaw Spa after the Fire mk174
1876
Pencil
12.2x18.2cm
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Atkinson Grimshaw In Peril mk174
c.1877-9
Pencil
12.2x36.4cm
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Atkinson Grimshaw Elaine mk174
1877
Oil on canvas
82.5x122cm
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Atkinson Grimshaw In Peril mk174
Oil on canvas
81.3x119.4cm
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Atkinson Grimshaw The Rector-s Garden Queen of the Lilies mk174
1877
Oil on canvas
80x122cm
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Atkinson Grimshaw A Street in Old Scarborough mk174
1877
Oil on board laid on panel
42x26.7cm
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Atkinson Grimshaw Forge Valley,near Scarborough mk174
1875
Oil on canvas
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Atkinson Grimshaw Liverpool Quary by Moonlight mk174
1887
Oil on canvas
61x91.4cm
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Atkinson Grimshaw Prince-s Dock Hull mk174
1887
Oil on card
30.5x49.5cm
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Atkinson Grimshaw Shipping on the Clyde mk174
1881
Oil on board
30.5x50.8cm
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Atkinson Grimshaw
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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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