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266:. True to the Pre-Raphaelite style, he created landscapes of accurate colour and lighting, vivid detail and realism, often typifying seasons or a type of weather. Moonlit views of city and suburban streets and of the docks in London, Hull, Liverpool, and Glasgow also figured largely in his art. His careful painting and his skill in lighting effects meant that he captured both the appearance and the mood of a scene in minute detail. His "paintings of dampened gas-lit streets and misty waterfronts conveyed an eerie warmth as well as alienation in the urban scene."
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272:(1885), 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 listening. Grimshaw painted more interior scenes, especially in the 1870s, when he worked under the influence of
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night scenes, 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."
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were suspected to have also used in secret, was condemned by a number of his contemporaries who believed it demonstrated less skill than painting by eye, with some claiming that his paintings appeared to "show no marks of handling or brushwork", while others "were doubtful whether they could be
329:, a depiction of Glasgow's Victorian docks, is a lyrically beautiful evocation of the industrial era. Grimshaw transcribed the fog and mist so accurately as to capture the chill in the damp air, and the moisture penetrating the heavy clothes of the few figures awake in the misty early morning.
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is considered one of
Grimshaw's finest works, exemplifying his skill with a variety of light sources, in capturing the mood of the passing of twilight into night. In his later career his urban scenes under twilight or yellow streetlighting were popular with his middle-class patrons.
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Grimshaw left behind no letters, journals, or papers. His reputation rested on, and his legacy is based on, his townscapes. There was a revival of interest in
Grimshaw's work in the second half of the 20th century, with several important exhibitions devoted to it. A
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to become a painter. He first exhibited in 1862, mostly paintings of birds, fruit, and blossom, under the patronage of the Leeds
Philosophical and Literary Society. He and his wife moved in 1866 to a semi-detached villa, which is now numbered 56 Cliff Road in
130:(6 September 1836 – 13 October 1893) was an English Victorian-era artist best known for his nocturnal scenes of urban landscapes. He was called a "remarkable and imaginative painter" by the critic and historian Christopher Wood in
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Grimshaw's love for realism stemmed from a passion for photography, which would eventually lend itself to the creative process. Though entirely self-taught, he is known to have openly used a
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accepted as paintings at all". However, many recognised his mastery of colour, lighting and shadow, as well as his unique ability to provoke strong emotional responses in the viewer.
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to Mary and David
Grimshaw. In 1856 he married his cousin Frances Hubbard (1835–1917). In 1861, at the age of 24, to the dismay of his parents, he left his job as a clerk for the
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Henry R LEW, "Imaging the World 2018", Hybrid
Publishers, Melbourne, Australia, {ISBN 9781925272819}. Chapter 16: George Hyde Pownall and the Grimshaws, pages 251-261.
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or lenses to project scenes onto canvas, which made up for his shortcomings as a draughtsman and his imperfect knowledge of perspective. This technique, which
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317:. After visiting Grimshaw, Whistler remarked that "I considered myself the inventor of Nocturnes until I saw Grimmy's moonlit pictures." Unlike Whistler's
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154:, whom Grimshaw worked with in his Chelsea studios, stated, "I considered myself the inventor of nocturnes until I saw Grimmy's moonlit pictures."
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His early paintings were signed "JAG", "J. A. Grimshaw", or "John
Atkinson Grimshaw", though he finally settled on "Atkinson Grimshaw".
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246:(1864–1913), Louis H. Grimshaw (1870–1944), Wilfred Grimshaw (1871–1937), and Elaine Grimshaw (1877–1970) also became painters.
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Grimshaw's paintings depicted the contemporary world but eschewed the dirty and depressing aspects of industrial towns.
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His later work included imagined scenes from the Greek and Roman empires, and he painted literary subjects from
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exhibition "Atkinson
Grimshaw – Painter of Moonlight" ran from 16 April – 4 September 2011 at the
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224:: SE 32125 32100. He became successful in the 1870s and rented a second home, Castle-by-the-Sea in
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621:"Looking back at artist John Atkinson Grimshaw on his birthday/website=Trinity House Paintings"
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Phryne's list of paintings by
Grimshaw in accessible collections in the UK
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635:"John Atkinson Grimshaw, Guildhall and Richard Green Galleries, review"
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306:. Grimshaw named his children after characters in Tennyson's poems.
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802:"Victorian Painter goes on display at Mercer Gallery in Harrogate"
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In the 1880s, Grimshaw maintained a London studio in
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610:, Boston, Little, Brown & Co., 1999; p. 173
864:64 artworks by or after John Atkinson Grimshaw
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239:, now called St George's Fields, in Leeds.
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228:. Scarborough became a favourite subject.
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929:Artists from Scarborough, North Yorkshire
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188:One of his paintings of Knostrop Old Hall
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169:Atkinson Grimshaw's home 1866–70
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597:, 2 Volumes, London, Routledge, 1973.
262:Grimshaw's primary influence was the
192:He was born on 6 September 1836 in a
673:. Leeds Civic Society. p. 78.
669:Dyson, Peter; Grady, Kevin (2001).
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944:19th-century English male artists
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850:, York, 2014 - Historical Feature
788:Museo Nacional Thyssen-Bornemisza
885: (archived October 11, 2007)
697:, Bath: Parragon, 2002; p. 154.
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231:He died on 13 October 1893 of
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899:19th-century English painters
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315:James Abbott McNeill Whistler
313:, not far from the studio of
770:Lambourne, pp. 112–13.
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298:— pictures including
16:English painter (1836–1893)
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695:The History of British Art
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593:and Michael Wolff, eds.,
442:Reflections on the Thames
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360:and subsequently in the
934:People from Knowsthorpe
909:British fantasy artists
784:"Shipping on the Clyde"
730:Wood, pp. 264–65.
719:Oxford University Press
457:Nightfall on the Thames
258:Glasgow, Saturday Night
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848:John Atkinson Grimshaw
715:Town, City, and Nation
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242:Four of his children,
202:Great Northern Railway
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152:James McNeill Whistler
128:John Atkinson Grimshaw
25:John Atkinson Grimshaw
904:English male painters
845:Yorkshire Art Journal
830:Alexander Robertson,
671:Blue Plaques of Leeds
570:Alexander Robertson,
472:Shipping on the Clyde
362:Guildhall Art Gallery
343:Reputation and legacy
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327:Shipping on the Clyde
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623:. 6 September 2017.
427:Spirit of the Night
382:Woodland near Leeds
337:The Ironbound Shore
304:The Lady of Shalott
177:Leeds Civic Trust,
939:Leeds Blue Plaques
924:Artists from Leeds
806:Harrogate Informer
759:Victorian Painting
757:Lionel Lambourne,
713:Philip J. Waller,
608:Victorian Painting
606:Christopher Wood,
354:Mercer Art Gallery
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278:Aesthetic Movement
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244:Arthur E. Grimshaw
237:Woodhouse Cemetery
194:back-to-back house
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132:Victorian Painting
85:Woodhouse Cemetery
874:Artcyclopedia.com
832:Atkinson Grimshaw
572:Atkinson Grimshaw
284:On Hampstead Hill
235:and is buried in
218:Knostrop Old Hall
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211:Leeds Civic Trust
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67:(1893-10-13)
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919:1893 deaths
914:1836 births
270:Dulce Domum
226:Scarborough
214:blue plaque
179:Blue Plaque
893:Categories
717:, Oxford,
680:0905671228
591:H. J. Dyos
558:References
364:, London.
292:Longfellow
209:and has a
207:Headingley
143:Caravaggio
46:1836-09-06
550:Stapleton
487:Boar Lane
358:Harrogate
56:, England
296:Tennyson
276:and the
134:(1999).
98:Painting
73:Knostrop
881:at the
812:8 April
534:, 1887.
519:, 1886.
504:, 1882.
489:, 1881.
474:, 1881.
459:, 1880.
444:, 1880.
429:, 1879.
414:, 1878.
399:, 1876.
384:, 1869.
368:Gallery
311:Chelsea
147:Vermeer
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868:Art UK
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300:Elaine
103:Spouse
198:Leeds
114:(
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870:site
836:ISBN
814:2022
699:ISBN
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517:Iris
302:and
294:and
250:Work
161:Life
145:and
62:Died
40:Born
356:in
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