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Atkinson Grimshaw October Gold oil painting


October Gold
Painting ID::  1858
Atkinson Grimshaw
October Gold
1889 23.23 x 17.52 in

   
   
     

Atkinson Grimshaw Bowder Stone, Borrowdale oil painting


Bowder Stone, Borrowdale
Painting ID::  1859
Atkinson Grimshaw
Bowder Stone, Borrowdale
c1863-1888 157.48 x 211.02 in

   
   
     

Atkinson Grimshaw Hampstead oil painting


Hampstead
Painting ID::  1860
Atkinson Grimshaw
Hampstead
1881 13.50 x 17.52 in

   
   
     

Atkinson Grimshaw Knostrop Hall, Early Morning oil painting


Knostrop Hall, Early Morning
Painting ID::  1861
Atkinson Grimshaw
Knostrop Hall, Early Morning
1870 Oil on canvas 24.02 x 36.26 in

   
   
     

Atkinson Grimshaw Stapleton Park near Pontefract oil painting


Stapleton Park near Pontefract
Painting ID::  1862
Atkinson Grimshaw
Stapleton Park near Pontefract
1882 Oil on canvas 20.08 x 29.92 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.

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