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