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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 Liverpoool from Wapping mk174
c.1875
Oil on canvas
59.7x88.9cm
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Atkinson Grimshaw Baiting the Lines,Whitby mk174
1884
Oil on canvas
50.6x76cm
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Atkinson Grimshaw The Houses of Parliament mk174
c.1880
Charcoal
9x15.1cm
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Atkinson Grimshaw View of Heath Street by Night mk174
1882
Oil on board
36.8x53.7cm
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Atkinson Grimshaw The Thames by Moonlight with Southmark Bridge mk174
1884
Oil on canvas
75x127cm
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Atkinson Grimshaw Nightfall down the Thames mk174
1880
Oil on board
40.2x63.1cm
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Atkinson Grimshaw Reflections on the Thames Westminster mk174
1880
Oil on canvas
76.2x127cm
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Atkinson Grimshaw Leeds Bridge mk174
1880
Oil on canvas
75x121.9cm
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Atkinson Grimshaw Park Row,Leeds mk174
1882
Oil on canvas
76.2x63.5cm
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Atkinson Grimshaw Reflections on the Aire On Strike mk174
1879
Oil on canvas
81.2x121.9cm
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Atkinson Grimshaw A Lane by Moonlight with Twon Figures mk174
1880
Oil on board
45.1x35.5cm
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Atkinson Grimshaw At Anchor mk174
1893
Oil on board
23.5x47.6cm
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Atkinson Grimshaw Evening Glow mk174
c.1884
Oil on canvas
28.5x43cm
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Atkinson Grimshaw Under the Moonbeams mk174
1882
Oil on canvas
75x62.2cm
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Atkinson Grimshaw Boar Lane,Leeds by Lamplight mk174
1881
Oil on canvas
48.9x76.8cm
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Atkinson Grimshaw Knostrop Hall Leeds mk174
1882
Oil on board
34.3x43.2cm
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Atkinson Grimshaw St Anne-s Lane,Headingley mk174
c.1880-5
Oil on board
35.5x45.7cm
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Atkinson Grimshaw A Yorkshire Home mk174 1878
Oil on canvas
81.3x122cm
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Atkinson Grimshaw Golden Light mk174
1893
Oil on canvas
45.7x68.6cm
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Atkinson Grimshaw Sixty Years Ago mk174
1879
Oil on canvas
81.3x122cm
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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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