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Atkinson Grimshaw Oil Painting Reproductions
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Atkinson Grimshaw Liverpool Quay by Moonlight oil


Atkinson Grimshaw
Liverpool Quay by Moonlight
Painting ID::  1843
Atkinson Grimshaw1.jpg 		Liverpool Quay by Moonlight
1887 240.16" x 359.84" Private collection
   
   
     
Atkinson Grimshaw Nightfall Down the Thames oil


Atkinson Grimshaw
Nightfall Down the Thames
Painting ID::  1844
Atkinson Grimshaw2.jpg 		Nightfall Down the Thames
   
   
     
Atkinson Grimshaw Nightfall Down the Thames oil


Atkinson Grimshaw
Nightfall Down the Thames
Painting ID::  1845
Atkinson Grimshaw3.jpg 		Nightfall Down the Thames
1880 Leeds City Art Gallery
   
   
     
Atkinson Grimshaw London Bridge, Half Tide oil


Atkinson Grimshaw
London Bridge, Half Tide
Painting ID::  1846
Atkinson Grimshaw4.jpg 		London Bridge, Half Tide
1884 Oil on canvas 22.05 x 35.83 in
   
   
     
Atkinson Grimshaw Greenock Dock oil


Atkinson Grimshaw
Greenock Dock
Painting ID::  1847
Atkinson Grimshaw5.jpg 		Greenock Dock
Oil on canvas 11.50 x 17.52 in
   
   
     
Atkinson Grimshaw Liverpool Custom House oil


Atkinson Grimshaw
Liverpool Custom House
Painting ID::  1848
Atkinson Grimshaw6.jpg 		Liverpool Custom House
Oil on board 7.01 x 15.00 in
   
   
     
Atkinson Grimshaw Spirit of the Night oil


Atkinson Grimshaw
Spirit of the Night
Painting ID::  1849
Atkinson Grimshaw7.jpg 		Spirit of the Night
1879
   
   
     
Atkinson Grimshaw Iris oil


Atkinson Grimshaw
Iris
Painting ID::  1850
Atkinson Grimshaw8.jpg 		Iris
1886 Oil on canvas 31.89 x 48.03 in
   
   
     
Atkinson Grimshaw Midsummer Night oil


Atkinson Grimshaw
Midsummer Night
Painting ID::  1851
Atkinson Grimshaw9.jpg 		Midsummer Night
1876 22.83" x 35.04"
   
   
     
Atkinson Grimshaw Endymion on Mount Latmus oil


Atkinson Grimshaw
Endymion on Mount Latmus
Painting ID::  1852
Atkinson Grimshaw10.jpg 		Endymion on Mount Latmus
1879 Oil on canvas 12.60 x 18.50 in
   
   
     
Atkinson Grimshaw Autumn oil


Atkinson Grimshaw
Autumn
Painting ID::  1853
Atkinson Grimshaw11.jpg 		Autumn
Roy Miles Gallery, London, England
   
   
     
Atkinson Grimshaw Day Dreams oil


Atkinson Grimshaw
Day Dreams
Painting ID::  1854
Atkinson Grimshaw12.jpg 		Day Dreams
   
   
     
Atkinson Grimshaw Elaine oil


Atkinson Grimshaw
Elaine
Painting ID::  1855
Atkinson Grimshaw13.jpg 		Elaine
   
   
     
Atkinson Grimshaw Elaine 2 oil


Atkinson Grimshaw
Elaine 2
Painting ID::  1856
Atkinson Grimshaw14.jpg 		Elaine 2
   
   
     
Atkinson Grimshaw Snowbound oil


Atkinson Grimshaw
Snowbound
Painting ID::  1857
Atkinson Grimshaw15.jpg 		Snowbound
1883 Oil on canvas 29.92 x 20.08 in
   
   
     
Atkinson Grimshaw October Gold oil


Atkinson Grimshaw
October Gold
Painting ID::  1858
Atkinson Grimshaw16.jpg 		October Gold
1889 23.23 x 17.52 in
   
   
     
Atkinson Grimshaw Bowder Stone, Borrowdale oil


Atkinson Grimshaw
Bowder Stone, Borrowdale
Painting ID::  1859
Atkinson Grimshaw17.jpg 		Bowder Stone, Borrowdale
c1863-1888 157.48 x 211.02 in
   
   
     
Atkinson Grimshaw Hampstead oil


Atkinson Grimshaw
Hampstead
Painting ID::  1860
Atkinson Grimshaw18.jpg 		Hampstead
1881 13.50 x 17.52 in
   
   
     
Atkinson Grimshaw Knostrop Hall, Early Morning oil


Atkinson Grimshaw
Knostrop Hall, Early Morning
Painting ID::  1861
Atkinson Grimshaw19.jpg 		Knostrop Hall, Early Morning
1870 Oil on canvas 24.02 x 36.26 in
   
   
     
Atkinson Grimshaw Stapleton Park near Pontefract oil


Atkinson Grimshaw
Stapleton Park near Pontefract
Painting ID::  1862
Atkinson Grimshaw20.jpg 		Stapleton Park near Pontefract
1882 Oil on canvas 20.08 x 29.92 in
   
   
     
Atkinson Grimshaw View of Heath Street by Night oil


Atkinson Grimshaw
View of Heath Street by Night
Painting ID::  1863
Atkinson Grimshaw21.jpg 		View of Heath Street by Night
1882 144.88 x 211.42 in
   
   
     
Atkinson Grimshaw Autumn Morning oil


Atkinson Grimshaw
Autumn Morning
Painting ID::  1864
Atkinson Grimshaw22.jpg 		Autumn Morning
Oil on canvas 20.00 x 30.00 in
   
   
     
Atkinson Grimshaw In Peril oil


Atkinson Grimshaw
In Peril
Painting ID::  70392
new23/Atkinson Grimshaw-644369.jpg 		In Peril
Medium Oil on canvas Dimensions 76.2 ?? 127 cm
   
   
     
Atkinson Grimshaw rNightfall down the Thames (nn03) oil


Atkinson Grimshaw
rNightfall down the Thames (nn03)
Painting ID::  23308
new8/Atkinson Grimshaw-858374.jpg 		rNightfall down the Thames (nn03)
1880 Oil on board 40.2 x 63.1 cm 15 7/8 x 24 7/8 in Leeds City Art Gallery Leeds
   
   
     
Atkinson Grimshaw Bowder Ston, oil


Atkinson Grimshaw
Bowder Ston,
Painting ID::  32784
new9/Atkinson Grimshaw-499845.jpg 		Bowder Ston,
mk81 Borrowdale c.1863-8
   
   
     
Atkinson Grimshaw Bowder Ston oil


Atkinson Grimshaw
Bowder Ston
Painting ID::  32785
new9/Atkinson Grimshaw-429996.jpg 		Bowder Ston
mk81 Borrowdale c.1863-8
   
   
     
Atkinson Grimshaw Spring oil


Atkinson Grimshaw
Spring
Painting ID::  44608
new16/Atkinson Grimshaw-252422.jpg 		Spring
mk174 1875 Oil on canvas 61x91cm
   
   
     
Atkinson Grimshaw Fair Maids of February oil


Atkinson Grimshaw
Fair Maids of February
Painting ID::  44609
new16/Atkinson Grimshaw-532978.jpg 		Fair Maids of February
mk174 1862 Oil on canvas 35.6x30.5cm
   
   
     
Atkinson Grimshaw A Mossy Glen oil


Atkinson Grimshaw
A Mossy Glen
Painting ID::  44610
new16/Atkinson Grimshaw-642367.jpg 		A Mossy Glen
mk174 1864 Oil on board 54.7x65cm
   
   
     
Atkinson Grimshaw Blea Tarn at First Light,Langdale Pikes in the Distance oil


Atkinson Grimshaw
Blea Tarn at First Light,Langdale Pikes in the Distance
Painting ID::  44611
new16/Atkinson Grimshaw-629342.jpg 		Blea Tarn at First Light,Langdale Pikes in the Distance
mk174 1865 Oil on canvas 35.5x45.7cm
   
   
     
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     Atkinson Grimshaw
     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.

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