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Atkinson Grimshaw Liverpool Custom House oil painting


Liverpool Custom House
Painting ID::  1848
Atkinson Grimshaw
Liverpool Custom House
Oil on board 7.01 x 15.00 in

   
   
     

Atkinson Grimshaw Spirit of the Night oil painting


Spirit of the Night
Painting ID::  1849
Atkinson Grimshaw
Spirit of the Night
1879

   
   
     

Atkinson Grimshaw Iris oil painting


Iris
Painting ID::  1850
Atkinson Grimshaw
Iris
1886 Oil on canvas 31.89 x 48.03 in

   
   
     

Atkinson Grimshaw Midsummer Night oil painting


Midsummer Night
Painting ID::  1851
Atkinson Grimshaw
Midsummer Night
1876 22.83" x 35.04"

   
   
     

Atkinson Grimshaw Endymion on Mount Latmus oil painting


Endymion on Mount Latmus
Painting ID::  1852
Atkinson Grimshaw
Endymion on Mount Latmus
1879 Oil on canvas 12.60 x 18.50 in

   
   
     

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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.

     Related Artists::.
     | Thomas Fearnley | Alexander Ignatius Roche | Ludwik de Laveaux |


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