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 :. | Tree Shadows on the Park Wall,Roundhay Park Leeds | Endymion on Mount Latmus | Leeds Bridge | The Deserted House | Sliver Moonlight |
Related Artists:
George Robert Lewis
English, 1782-1871
Jan Jansz. Treck
(1606, Amsterdam, 25 September 1652 ) was a still-life painter during the Dutch Golden Age. Treck used economy in the number of his objects. In 1623 Treck was trained for half a year by Jan den Uyl, who had married his sister Geertruid in 1619. His style also shows influence by Pieter Claesz and Willem Heda. In 1643 and 1644 Treck was trained by Abraham Jansz for 4 guilders a week, but forgot to pay for his apprenticeship. He also had to pay for a window that was made to get more light, while working. His earliest known signed and dated work is from 1641, after the death of Den Uyl. A work has surfaced with both signatures, implying that Treck perhaps finished Den Uyl's paintings after his death. Treck also had helped his brother-in-law to sell his house (on Singel) in 1639. After the death of his friend Abraham, Treck bought his equipment, paint and easel. In 1640 he supplied the art dealer Hendrick Uylenburgh with money. After Treck's death his brother, sister and his niece and nephews inherited a small house in an alley from Singel to Spuistraat, furniture, clothes, stocks, coins, jewelry, prints and paintings. In 1661 Simon Luttichuys was asked to repaint a vanitas done by Treck. Treck influenced Pieter van Anraedt and Willem Kalf.
Charles Beaubrun
(Charles Bobrun) (1604 - 1692) was a French portrait painter active in Paris between 1630-70. Charles Beaubrun was born at Amboise, a member of a distinguished family of painters. He studied under his uncle Louis Beaubrun (d. 1627). He and his cousin Henri Beaubrun (II) (1603 - 1677), were portrait painters in the courts of King Louis XIII and Louis XIV of France. Some of his work is jointly attributed to Henri. His youngest brother, Michel Beaubrun (d 1642), was also a painter. Charles Beaubrun died at Paris.