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 :. | Detail of Dulce Domum | Liverpool Custom House | Shipping on the Clyde | Evening Glow | Burnsall Valley Wharfedale |
Related Artists:
Village procession
painted Village procession in 1640
Ludovico Cigoli
Italian Baroque Era Painter , 1559-1613 was an Italian painter and architect of the late Mannerist and early Baroque period, trained and active in his early career in Florence, and spending the last nine years of his life in Rome. Lodovico Cardi was born at Villa Castelvecchio di Cigoli, in Tuscany, whence the name by which he is commonly known. Initially, Cigoli trained in Florence under the fervid mannerist Alessandro Allori. Later, influenced by the most prominent of the Contra-Maniera painters, Santi di Tito, as well as by Barocci, Cigoli shed the shackles of mannerism and infused his later paintings with an expressionism often lacking from 16th century Florentine painting. For example, for the Roman patron, Massimo Massimi, he painted an Ecce Homo (now in Palazzo Pitti). Supposedly unbenknownst to any of the painters, two other prominent contemporary painters, Passignano and Caravaggio, had been requested canvases on the same theme. It is unclear if they are completely independent. Cigoli's painting seems to have been made with knowledge of Caravaggio's canvas; however, while Cigoli's work lacks the power of Caravaggio's naturalism, the background shade and sparse foreground shows how much he was moving away from crowded Florentine historical paintings. This work was afterwards taken by Bonaparte to the Louvre, and was restored to Florence in 1815. One of his early paintings was of Cain slaying Abel.
Jean Francois Boisselat
Portrait de Francois, marquis de Barbe-Marbois (1745-1837)