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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 Liverpoool from Wapping oil painting

Painting ID::  44664

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Atkinson Grimshaw
Liverpoool from Wapping
mk174 c.1875 Oil on canvas 59.7x88.9cm
   
   
     

 

 

Atkinson Grimshaw Baiting the Lines,Whitby oil painting

Painting ID::  44665

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Atkinson Grimshaw
Baiting the Lines,Whitby
mk174 1884 Oil on canvas 50.6x76cm
   
   
     

 

 

Atkinson Grimshaw The Houses of Parliament oil painting

Painting ID::  44670

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Atkinson Grimshaw
The Houses of Parliament
mk174 c.1880 Charcoal 9x15.1cm
   
   
     

 

 

Atkinson Grimshaw View of Heath Street by Night oil painting

Painting ID::  44667

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Atkinson Grimshaw
View of Heath Street by Night
mk174 1882 Oil on board 36.8x53.7cm
   
   
     

 

 

Atkinson Grimshaw The Thames by Moonlight with Southmark Bridge oil painting

Painting ID::  44668

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Atkinson Grimshaw
The Thames by Moonlight with Southmark Bridge
mk174 1884 Oil on canvas 75x127cm
   
   
     

 

 

Atkinson Grimshaw Nightfall down the Thames oil painting

Painting ID::  44669

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Atkinson Grimshaw
Nightfall down the Thames
mk174 1880 Oil on board 40.2x63.1cm
   
   
     

 

 

Atkinson Grimshaw Reflections on the Thames Westminster oil painting

Painting ID::  44671

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Atkinson Grimshaw
Reflections on the Thames Westminster
mk174 1880 Oil on canvas 76.2x127cm
   
   
     

 

 

Atkinson Grimshaw Leeds Bridge oil painting

Painting ID::  44672

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Atkinson Grimshaw
Leeds Bridge
mk174 1880 Oil on canvas 75x121.9cm
   
   
     

 

 

Atkinson Grimshaw Park Row,Leeds oil painting

Painting ID::  44673

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Atkinson Grimshaw
Park Row,Leeds
mk174 1882 Oil on canvas 76.2x63.5cm
   
   
     

 

 

Atkinson Grimshaw Reflections on the Aire On Strike oil painting

Painting ID::  44674

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Atkinson Grimshaw
Reflections on the Aire On Strike
mk174 1879 Oil on canvas 81.2x121.9cm
   
   
     

 

 

Atkinson Grimshaw A Lane by Moonlight with Twon Figures oil painting

Painting ID::  44675

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Atkinson Grimshaw
A Lane by Moonlight with Twon Figures
mk174 1880 Oil on board 45.1x35.5cm
   
   
     

 

 

Atkinson Grimshaw At Anchor oil painting

Painting ID::  44676

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Atkinson Grimshaw
At Anchor
mk174 1893 Oil on board 23.5x47.6cm
   
   
     

 

 

Atkinson Grimshaw Evening Glow oil painting

Painting ID::  44677

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Atkinson Grimshaw
Evening Glow
mk174 c.1884 Oil on canvas 28.5x43cm
   
   
     

 

 

Atkinson Grimshaw Under the Moonbeams oil painting

Painting ID::  44678

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Atkinson Grimshaw
Under the Moonbeams
mk174 1882 Oil on canvas 75x62.2cm
   
   
     

 

 

Atkinson Grimshaw Boar Lane,Leeds by Lamplight oil painting

Painting ID::  44679

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Atkinson Grimshaw
Boar Lane,Leeds by Lamplight
mk174 1881 Oil on canvas 48.9x76.8cm
   
   
     

 

 

Atkinson Grimshaw Knostrop Hall Leeds oil painting

Painting ID::  44680

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Atkinson Grimshaw
Knostrop Hall Leeds
mk174 1882 Oil on board 34.3x43.2cm
   
   
     

 

 

Atkinson Grimshaw St Anne-s Lane,Headingley oil painting

Painting ID::  44681

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Atkinson Grimshaw
St Anne-s Lane,Headingley
mk174 c.1880-5 Oil on board 35.5x45.7cm
   
   
     

 

 

Atkinson Grimshaw A Yorkshire Home oil painting

Painting ID::  44682

X 
 

Atkinson Grimshaw
A Yorkshire Home
mk174 1878 Oil on canvas 81.3x122cm
   
   
     

 

 

Atkinson Grimshaw Golden Light oil painting

Painting ID::  44683

X 
 

Atkinson Grimshaw
Golden Light
mk174 1893 Oil on canvas 45.7x68.6cm
   
   
     

 

 

Atkinson Grimshaw Sixty Years Ago oil painting

Painting ID::  44684

X 
 

Atkinson Grimshaw
Sixty Years Ago
mk174 1879 Oil on canvas 81.3x122cm
   
   
     

 

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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.