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 :. | A Lane by Moonlight with Twon Figures | Detail of Scarborough Bay | Nab Scar | View of Heath Street by Night | Bowder Ston, |
Related Artists:
Julien Dupre
1851-1910 French Julien Dupre Location
j. g. sandberg
Johan Gustaf Sandberg, född 1782, död 1854, var målare; han var professor i teckning vid Konstakademien från 1828, och direktör där 1845?C1853. Sandberg ägnade sig främst åt historiemåleri, med motiv ur nordisk mytologi och svensk historia. Hans främsta verk inom detta område är kalkmålningarna över Gustav Vasa i Uppsala domkyrka. Han målade också en mängd porträtt. Efter akademiska studier i Åbo med början 1783, och Uppsala, dit han flyttade 1788, blev han filosofie magister 1791. Han blev 1792 extra ordinarie kanslist i akademiska kansliet. Juris utriusque kandidat blev han 1792 och kort därefter docent vid juridiska fakulteten, blev juris licentiat 1800 och utnämndes 1807 till jurisprudentiä, oeconomiæ et commerciorum professor i Uppsala. Juris utriusque doktor 1810; arbetande ledamot i Lagkommissionen 1811-1814; ledamot av Krigsvetenskapsakademien 1810, Lantbruksakademien 1812, Vetenskapssocieteten i Uppsala 1829 samt flera andra lärda samfund. År 1834 erhöll han adlig värdighet och tog avsked från sin professur 1837. Lars Rabenius ligger begravd på Uppsala gamla kyrkogård.
Emanuel de Witte
(1617 - 1692) was a Dutch perspective painter. In contrast to Pieter Jansz Saenredam, who emphasized architectural accuracy, De Witte was more concerned with the atmosphere of his interiors. Though few in number, de Witte also produced genre paintings. De Witte was born in Alkmaar and learned geometry from his father, a schoolmaster. He joined the local Guild of St Luke in 1636. After a stay in Rotterdam, he moved to Delft and studied with Evert van Aelst. In 1651 de Witte settled in Amsterdam where his first wife, Geerje Arents, died in 1655. He then married a 23-year-old orphan, Lysbeth van der Plas, who exercised a bad influence on de Witte's adolescent daughter. In December 1659 both were arrested for theft from a neighbor.Lysbeth, pregnant, had to leave the city for a period of six years; she lived outside the city walls and died in 1663. Following the arrest of his wife and child, de Witte was forced to indenture himself to the Amsterdam notary and art dealer Joris de Wijs, surrendering all of his work in exchange for room, board, and 800 guilders annually. De Witte broke the contract, was sued by the dealer, and forced to indenture himself further as a result. Several patrons provided de Witte with support, but these relations did not work out well, for he tended to shout at his clients and at people watching him at work in churches. Records tell of his gambling habit and a fight with Gerard de Lairesse. According to Arnold Houbraken, after an argument about the rent, de Witte hanged himself from a canal bridge in 1692. The rope broke and de Witte drowned. Because the canal froze that night, his corpse was not found until eleven weeks later