All Atkinson Grimshaw Oil Paintings

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.
 

       Prev  13  14  15  16  17  18  19  20  21  22   Next
  Prev Artist       Next Artist     

   
    

Atkinson Grimshaw Nightfall down the Thames oil on canvas


Nightfall down the Thames
Nightfall down the Thames
Painting ID::  44669
  mk174 1880 Oil on board 40.2x63.1cm
  mk174 1880 Oil on board 40.2x63.1cm

Height    Width


  INS/CM       Quality

X

  

Atkinson Grimshaw Reflections on the Thames Westminster oil on canvas


Reflections on the Thames Westminster
Reflections on the Thames Westminster
Painting ID::  44671
  mk174 1880 Oil on canvas 76.2x127cm
  mk174 1880 Oil on canvas 76.2x127cm

Height    Width


  INS/CM       Quality

X

  

Atkinson Grimshaw Leeds Bridge oil on canvas


Leeds Bridge
Leeds Bridge
Painting ID::  44672
  mk174 1880 Oil on canvas 75x121.9cm
  mk174 1880 Oil on canvas 75x121.9cm

Height    Width


  INS/CM       Quality

X

  

Atkinson Grimshaw Park Row,Leeds oil on canvas


Park Row,Leeds
Park Row,Leeds
Painting ID::  44673
  mk174 1882 Oil on canvas 76.2x63.5cm
  mk174 1882 Oil on canvas 76.2x63.5cm

Height    Width


  INS/CM       Quality

X

  

Atkinson Grimshaw Reflections on the Aire On Strike oil on canvas


Reflections on the Aire On Strike
Reflections on the Aire On Strike
Painting ID::  44674
  mk174 1879 Oil on canvas 81.2x121.9cm
  mk174 1879 Oil on canvas 81.2x121.9cm

Height    Width


  INS/CM       Quality

X

  

       Prev  13  14  15  16  17  18  19  20  21  22   Next
Prev Artist       Next Artist     

     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.

ARTISTABCDEFGHIJKLMNOPQRSTUVWXYZ
A
rt Work: ABCDEFGHIJKLMNOPQRSTUVWXYZ


CONTACT US
Xiamen China Wholesale Oil Painting Stretcher Bar Wholesale Frame Moulding Mirror Framed Stretched Paintings