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Oil Paintings Come From United Kingdom
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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 Liverpool Quay by Moonlight oil painting

Painting ID::  1843

X 
 

Atkinson Grimshaw
Liverpool Quay by Moonlight
1887 240.16" x 359.84" Private collection
   
   
     

 

 

Atkinson Grimshaw Nightfall Down the Thames oil painting

Painting ID::  1844

X 
 

Atkinson Grimshaw
Nightfall Down the Thames

   
   
     

 

 

Atkinson Grimshaw Nightfall Down the Thames oil painting

Painting ID::  1845

X 
 

Atkinson Grimshaw
Nightfall Down the Thames
1880 Leeds City Art Gallery
   
   
     

 

 

Atkinson Grimshaw London Bridge, Half Tide oil painting

Painting ID::  1846

X 
 

Atkinson Grimshaw
London Bridge, Half Tide
1884 Oil on canvas 22.05 x 35.83 in
   
   
     

 

 

Atkinson Grimshaw Greenock Dock oil painting

Painting ID::  1847

X 
 

Atkinson Grimshaw
Greenock Dock
Oil on canvas 11.50 x 17.52 in
   
   
     

 

 

Atkinson Grimshaw Liverpool Custom House oil painting

Painting ID::  1848

X 
 

Atkinson Grimshaw
Liverpool Custom House
Oil on board 7.01 x 15.00 in
   
   
     

 

 

Atkinson Grimshaw Spirit of the Night oil painting

Painting ID::  1849

X 
 

Atkinson Grimshaw
Spirit of the Night
1879
   
   
     

 

 

Atkinson Grimshaw Iris oil painting

Painting ID::  1850

X 
 

Atkinson Grimshaw
Iris
1886 Oil on canvas 31.89 x 48.03 in
   
   
     

 

 

Atkinson Grimshaw Midsummer Night oil painting

Painting ID::  1851

X 
 

Atkinson Grimshaw
Midsummer Night
1876 22.83" x 35.04"
   
   
     

 

 

Atkinson Grimshaw Endymion on Mount Latmus oil painting

Painting ID::  1852

X 
 

Atkinson Grimshaw
Endymion on Mount Latmus
1879 Oil on canvas 12.60 x 18.50 in
   
   
     

 

 

Atkinson Grimshaw Autumn oil painting

Painting ID::  1853

X 
 

Atkinson Grimshaw
Autumn
Roy Miles Gallery, London, England
   
   
     

 

 

Atkinson Grimshaw Day Dreams oil painting

Painting ID::  1854

X 
 

Atkinson Grimshaw
Day Dreams

   
   
     

 

 

Atkinson Grimshaw Elaine oil painting

Painting ID::  1855

X 
 

Atkinson Grimshaw
Elaine

   
   
     

 

 

Atkinson Grimshaw Elaine 2 oil painting

Painting ID::  1856

X 
 

Atkinson Grimshaw
Elaine 2

   
   
     

 

 

Atkinson Grimshaw Snowbound oil painting

Painting ID::  1857

X 
 

Atkinson Grimshaw
Snowbound
1883 Oil on canvas 29.92 x 20.08 in
   
   
     

 

 

Atkinson Grimshaw October Gold oil painting

Painting ID::  1858

X 
 

Atkinson Grimshaw
October Gold
1889 23.23 x 17.52 in
   
   
     

 

 

Atkinson Grimshaw Bowder Stone, Borrowdale oil painting

Painting ID::  1859

X 
 

Atkinson Grimshaw
Bowder Stone, Borrowdale
c1863-1888 157.48 x 211.02 in
   
   
     

 

 

Atkinson Grimshaw Hampstead oil painting

Painting ID::  1860

X 
 

Atkinson Grimshaw
Hampstead
1881 13.50 x 17.52 in
   
   
     

 

 

Atkinson Grimshaw Knostrop Hall, Early Morning oil painting

Painting ID::  1861

X 
 

Atkinson Grimshaw
Knostrop Hall, Early Morning
1870 Oil on canvas 24.02 x 36.26 in
   
   
     

 

 

Atkinson Grimshaw Stapleton Park near Pontefract oil painting

Painting ID::  1862

X 
 

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.