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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 Sliver Moonlight oil painting

Painting ID::  44685

X 
 

Atkinson Grimshaw
Sliver Moonlight
mk174 1886 Oil on cnavas 76.2x63.5cm
   
   
     

 

 

Atkinson Grimshaw November Morning oil painting

Painting ID::  44686

X 
 

Atkinson Grimshaw
November Morning
mk174 1883 Oil on canvas 50.8x76.2cm
   
   
     

 

 

Atkinson Grimshaw Sand,Sea and Sky A Summer Fantasy oil painting

Painting ID::  44687

X 
 

Atkinson Grimshaw
Sand,Sea and Sky A Summer Fantasy
mk174 1892 Oil on board 30.5x45.7cm
   
   
     

 

 

Atkinson Grimshaw Knostrop Cut Leeds oil painting

Painting ID::  44688

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Atkinson Grimshaw
Knostrop Cut Leeds
mk174 1893 Oil on panel 15.9x36.2cm
   
   
     

 

 

Atkinson Grimshaw The Turn of the Tide oil painting

Painting ID::  44689

X 
 

Atkinson Grimshaw
The Turn of the Tide
mk174 1892 Oil on board 24.7x49.5cm
   
   
     

 

 

Atkinson Grimshaw Study of Beeches oil painting

Painting ID::  44690

X 
 

Atkinson Grimshaw
Study of Beeches
mk174 1872 Oil on card 42.5x54.6cm
   
   
     

 

 

Atkinson Grimshaw The Vale of Newlands,Cumberland oil painting

Painting ID::  44691

X 
 

Atkinson Grimshaw
The Vale of Newlands,Cumberland
mk174 1868 Watercolour heightened with white 35.2x51.1cm
   
   
     

 

 

Atkinson Grimshaw THe Seal of the Covenant oil painting

Painting ID::  44692

X 
 

Atkinson Grimshaw
THe Seal of the Covenant
mk174 1868 Oil on canvas 71.1x91.5cm
   
   
     

 

 

Atkinson Grimshaw Detail of Nab Scar oil painting

Painting ID::  44693

X 
 

Atkinson Grimshaw
Detail of Nab Scar
mk174
   
   
     

 

 

Atkinson Grimshaw Nab Scar oil painting

Painting ID::  44694

X 
 

Atkinson Grimshaw
Nab Scar
mk174 1864 Oil on board 40.6x50.8cm
   
   
     

 

 

Atkinson Grimshaw Mr Flowers Sketch oil painting

Painting ID::  44695

X 
 

Atkinson Grimshaw
Mr Flowers Sketch
mk174 12.2x18.2cm
   
   
     

 

 

Atkinson Grimshaw November Morning on the River Wharfe oil painting

Painting ID::  44696

X 
 

Atkinson Grimshaw
November Morning on the River Wharfe
mk174 1866 Oil on canvas 69.8x90.2cm
   
   
     

 

 

Atkinson Grimshaw Lights in the Harbour oil painting

Painting ID::  44697

X 
 

Atkinson Grimshaw
Lights in the Harbour
mk174 1879 Oil on canvas 82.5x121.9cm
   
   
     

 

 

Atkinson Grimshaw Scarborough Skyline oil painting

Painting ID::  44698

X 
 

Atkinson Grimshaw
Scarborough Skyline
mk174 c.1877 Pencil 12.2x18.2cm
   
   
     

 

 

Atkinson Grimshaw Nightfall in the Harbour Scarborough oil painting

Painting ID::  44699

X 
 

Atkinson Grimshaw
Nightfall in the Harbour Scarborough
mk174 1881 Oil on canvas 58.4x91.4cm
   
   
     

 

 

Atkinson Grimshaw THe Lighthouse at Scarborough oil painting

Painting ID::  44700

X 
 

Atkinson Grimshaw
THe Lighthouse at Scarborough
mk174 1877 Oil on board 22.9x35.6cm
   
   
     

 

 

Atkinson Grimshaw WHitby from Scotch Head oil painting

Painting ID::  44701

X 
 

Atkinson Grimshaw
WHitby from Scotch Head
mk174 1878 Oil on canvas 20.3x43.2cm
   
   
     

 

 

Atkinson Grimshaw Barnes Terrace oil painting

Painting ID::  44702

X 
 

Atkinson Grimshaw
Barnes Terrace
mk174 1886 Pencil 11.4x18cm
   
   
     

 

 

Atkinson Grimshaw On the Thames Barnes oil painting

Painting ID::  44703

X 
 

Atkinson Grimshaw
On the Thames Barnes
mk174 1886 Oil on canvas 61x91.5cm
   
   
     

 

 

Atkinson Grimshaw Whitby Harbour oil painting

Painting ID::  44704

X 
 

Atkinson Grimshaw
Whitby Harbour
mk174 1878 Oil on board 20.3x43.2cm
   
   
     

 

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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.