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 :. | Forge Valley,near Scarborough | Shipping on the Clyde | Ghyll Beck Barden Yorkshire Early Spring | Detail of Nab Scar | Stapleton Park near Pontefract |
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tidemand
Tidemand kom vid 17 års ålder till Köpenhamns konstakademi, studerade där i fem år, tänkte sedan utbilda sig till historiemålare i Munchen, men valde i stället på en kamrats råd Dusseldorf till studieort och reste dit 1837. Han blev elev av Theodor Hildebrandt, men tog tidigare intryck av Carl Friedrich Lessings relativt realistiska historiemåleri. Hans första större målning behandlade ett svenskt ämne, Gustaf Vasa talar till dalkarlarna vid Mora (1841). Målningen inköptes av Rhens och Westfalens konstförening samt förskaffade Tidemand ett resestipendium från Norge och beställning på en altartavla till Vor Freisers kirke i Kristiania. Han reste sedan till Munchen och Italien, återvände till Norge på ett kort besök sommaren 1842, gjorde en studieresa i fjälltrakterna för att samla material till en påtänkt fosterländsk historiemålning, men kom nu till klarhet över sitt mål. Han ville, som han själv yttrat, skildra detta kraftiga naturfolks karaktär seder och vanor. Hans första tavla i detta syfte var Sagoberätterskan 1844, inköptes av drottning Josefina och förskaffade konstnären medlemskap av svenska konstakademien. Efter nya studieresor i Norge målade han Söndagskväll i Hardanger köptes av Oscar I, på slottet i Kristiania och Gudstjänst i en landskyrka. Han bosatte sig 1845 på allvar i Dusseldorf och vann snart ett namn genom de norska bondelivsbilderna. Samma år målade Tidemand i samarbete med Hans Fredrik Gude den romantiska Brudefärden i Hardanger. Revolutionsoroligheterna hade vid denna tid drivit de norske konstnärerna hem till Norge, och det såg ut, som skulle konsten nu bli rotfäst i hemlandet. Impulsen till en nationell konst gavs, men då lugn åter inträdde, återvände konstnärerna till utlandet. Under de närmaste åren målade Tidemand för det av Oscar I uppförda lilla lustslottet Oskarshal, som pryddes av uteslutande norska konstverk, serien Norskt bondeliv. Hans sista arbete var förstudier till en aldrig utförd historiemålning, Kristian IV grundlägger Kristiania, beställd av Oscar II. Tidemand skapade även tre altartavlor. I samarbete med Gude målade han Afton på Kröderen (1849), Ljustring (1850), Likfärd på Sognefjorden (1853), Fiskare i fara (1859), med Sophus Jacobsen Lappar på renjakt (1873) och med Morten M??ller Sinclairs landstigning i Romsdalen (1875). Han blev av sin samtid hyllad som Norges främsta representativa konstnär. Hans betydelse ligger i att han i sin konst gav uttryck åt det nationella uppvaknandet i sitt hemland. På samma gång föreställde han det norska folket för den stora allmänheten i utlandet. I Tyskland betraktades han som en av de främsta representanter i samtidens konst. Han fick många utmärkelser såväl i Tyskland som i Paris och i England, och hans arbeten såldes till höga pris. Sina mest omtyckta målningar upprepade han med tillhjälp av flera medhjälpare gång på gång, några i ända till 12 exemplar. Många av hans arbeten är återgivna i kopparstick och litografi. L. Dietrichson utgav Adolph Tidemand, hans liv og hans værker (2 delar, 1878-79).
Albertinelli, Mariotto
Italian Early Renaissance Painter, 1474-1515] Studied under Cosimo Rosselli. Albertinelli's students included Pontormo . Italian painter. Albertinelli's contribution to the Florentine High Renaissance was inspired by the work of FRA BARTOLOMMEO, and the two artists worked together in a partnership, their paintings appearing to be the product of a single hand. Albertinelli, however, always retained artistic independence, as is revealed in certain paintings that are eccentrically archaic and in others that show a preference for conventions more typical of the early Renaissance.
James Abbott Mcneill Whistler
American Tonalist Painter and Printmaker, 1834-1903, He was an American-born, British-based artist. Averse to sentimentality and moral allusion in painting, he was a leading proponent of the credo "art for art's sake". His famous signature for his paintings was in the shape of a stylized butterfly possessing a long stinger for a tail.