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 :. | Sunset from Chilworth Common | Twilight | Bowder Ston | Under the Hollies,Roundhay Park,Leeds | A Street in Old Scarborough |
Related Artists:
Karoly Ferenczy
1863-1917 Karoly Ferenczy Locations was a Hungarian Impressionist painter. He was one of the leading artists of the Nagybanya school of painting. He studied law and economics. He began to deal with painting at the Academie Julian in Paris. In 1889, he moved back to Hungary, to the town of Szentendre. Between 1893 and 1896 he lived in Munich with his family: There he joined the circle of Simon Hollosy: with whom he moved to Nagybanya in 1896 and became the leading painter of the artist colony. After 1906 he moved to Budapest and became the professor of the College of Fine Arts. His wife Olga Fialka and their children, the painter Valer Ferenczy (1885-1954), the tapestry weaver Noemi Ferenczy (1890-1957) and the sculptor Beni Ferenczy (1890- 1967) were famous representatives of Hungarian art.
Eugen Ducker
was a romanticist Baltic German painter. He was born in Kuressaare, Estonia, on 29 January 1841 in the Julian calendar (10 February 1841 according to the Gregorian calendar) and died on 6 December 1916 in Dusseldorf, where he developed almost all his career. A notable student of his was the Norwegian landscape painter Adelsteen Normann who studied with Ducker from 1869 to 1872.
Jean - Andre Rixens
French, 1846 - 1924