Atkinson Grimshaw
Atkinson Grimshaw's Oil Paintings
Atkinson Grimshaw Museum
6 September 1836 -- 13 October 1893, Victorian-era artist.

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Here are all the paintings of Atkinson Grimshaw 02

ID Painting  Oil Pantings, Sorted from A to Z     Painting Description
44621 Sunset from Chilworth Common Atkinson Grimshaw Sunset from Chilworth Common mk174 Hampshire 1868 Oil on canvas 39.5x60cm
88711 Thames Atkinson Grimshaw Thames 1880(1880) Medium Oil on board cyf
44614 The Bowder Stone Borrowdale Atkinson Grimshaw The Bowder Stone Borrowdale mk174 c.1865 Oil on canvas 40.5x54cm
91909 The Broomielaw Atkinson Grimshaw The Broomielaw oil on canvas, 30.5 x 46 cm.c. 1889(1889) cjr
44626 The Deserted House Atkinson Grimshaw The Deserted House mk174 1871 Oil on board 29.2x45.7cm
44670 The Houses of Parliament Atkinson Grimshaw The Houses of Parliament mk174 c.1880 Charcoal 9x15.1cm
44700 THe Lighthouse at Scarborough Atkinson Grimshaw THe Lighthouse at Scarborough mk174 1877 Oil on board 22.9x35.6cm
44648 The Old Gates Yew Court  Scalby near Scarborough Atkinson Grimshaw The Old Gates Yew Court Scalby near Scarborough mk174 1874 Oil on paper on panel 17.8x43.2cm
44622 The Old Mill Cheshire Atkinson Grimshaw The Old Mill Cheshire mk174 1869 Oil on board 62.3x87.5cm
44658 The Rector-s Garden Queen of the Lilies Atkinson Grimshaw The Rector-s Garden Queen of the Lilies mk174 1877 Oil on canvas 80x122cm
44692 THe Seal of the Covenant Atkinson Grimshaw THe Seal of the Covenant mk174 1868 Oil on canvas 71.1x91.5cm
44668 The Thames by Moonlight with Southmark Bridge Atkinson Grimshaw The Thames by Moonlight with Southmark Bridge mk174 1884 Oil on canvas 75x127cm
44689 The Turn of the Tide Atkinson Grimshaw The Turn of the Tide mk174 1892 Oil on board 24.7x49.5cm
44691 The Vale of Newlands,Cumberland Atkinson Grimshaw The Vale of Newlands,Cumberland mk174 1868 Watercolour heightened with white 35.2x51.1cm
44615 The Wharfe above Bolton Woods,with Barden Tower in the Distance Atkinson Grimshaw The Wharfe above Bolton Woods,with Barden Tower in the Distance mk174 1868 Oil on canvas 71.1x91.5cm
44627 Tree Shadows on the Park Wall,Roundhay Park Leeds Atkinson Grimshaw Tree Shadows on the Park Wall,Roundhay Park Leeds mk174 1872 Oil on card 55.2x44.2cm
44618 Twilight Atkinson Grimshaw Twilight mk174 1869 Oil on board 39.4x53.4cm
44641 Two Thousand Years Ago Atkinson Grimshaw Two Thousand Years Ago mk174 1878 Oil on Canvas laid on panel 21.5x35.6cm
44625 Under the Hollies,Roundhay Park,Leeds Atkinson Grimshaw Under the Hollies,Roundhay Park,Leeds mk174 1872 Oil on board 54.6x43.8cm
44678 Under the Moonbeams Atkinson Grimshaw Under the Moonbeams mk174 1882 Oil on canvas 75x62.2cm
1863 View of Heath Street by Night Atkinson Grimshaw View of Heath Street by Night 1882 144.88 x 211.42 in
44667 View of Heath Street by Night Atkinson Grimshaw View of Heath Street by Night mk174 1882 Oil on board 36.8x53.7cm
44631 Waterloo Lake Roundhay Park Leeds Atkinson Grimshaw Waterloo Lake Roundhay Park Leeds mk174 1872 Oil on board 21.6x33.6cm
44701 WHitby from Scotch Head Atkinson Grimshaw WHitby from Scotch Head mk174 1878 Oil on canvas 20.3x43.2cm
44704 Whitby Harbour Atkinson Grimshaw Whitby Harbour mk174 1878 Oil on board 20.3x43.2cm
44613 Windermere Atkinson Grimshaw Windermere mk174 1863 Oil on canvas 48.5x100.6cm

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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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