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 Paintings of Atkinson Grimshaw :. | A Mossy Glen | Scarborough Skyline | Mr Flowers Sketch | Quai de Paris Rouen | Barden Tower,Yorkshire |
Related Artists:
Norbert Goeneutte
French Painter, 1854-1894.French painter and engraver. In 1871, after working briefly as a lawyers clerk, he entered the studio of Isidore Pils at the Ecole des Beaux-Arts. When Pils died in 1875 Henri Lehmann took over the studio and Goeneutte left, moving to Montmartre. There he met Auguste Renoir, for whom he often modelled, and Marcellin Desboutin, who inspired his interest in engraving, etching and drypoint. Although Goeneutte was associated with Manet, Degas and Renoir, and his work was influenced by them, for instance in the informality of his compositions, he never exhibited with the Impressionist group, preferring instead the official Salons. Every year from 1876 he exhibited several works in the Paris Salon, such as Boulevard de Clichy under Snow (1876; London, Tate). He visited London in 1880, Rotterdam in 1887 and Venice in 1890.
John warwick smith
English Painter, 1749-1831 English painter. The son of a gardener to the Gilpin family, he studied under the animal painter Sawrey Gilpin. During a trip to Derbyshire with Gilpin he met George Greville, 2nd Earl of Warwick, who gave him financial support to go to Italy between 1776 and 1781. Smith spent 1778-9 in Naples and was otherwise based in Rome, where he explored the Campagna and made sketches with William Pars and Francis Towne. The strong greens and purples and crisp pen outlines of some of Smith's watercolours are strongly influenced by Towne's style. Smith and Towne travelled together across the Alps on their way back to England in 1781, after which Smith settled in Warwick. He contributed six views to Samuel Middiman's Select Views in Great Britain (1784-5) and between 1784 and 1806 toured Wales 13 times in search of Picturesque and Sublime scenery. He also visited the Lake District between 1789 and 1792, which resulted in the publication of Twenty Views of the Lake District (1791-5); he appears to have been in Devon and Worcestershire as well. Aquatints after Smith were used to illustrate William Sotheby's Tour through Parts of Wales (1794),
Ghasiram Hardev Sharma
1868-1930