English painter (1836–1893)
John Atkinson Grimshaw | |
|---|---|
| Born | (1836-09-06)6 September 1836 Leeds, England |
| Died | 13 October 1893(1893-10-13) (aged 57) Knostrop, City, England |
| Resting place | Woodhouse Cemetery, Woodhouse, Leeds |
| Known for | Painting |
| Spouse | Frances Hubbard (m. 1856) |
John Atkinson Grimshaw (6 Sep 1836 – 13 October 1893) was an English Victorian-era chief best known for his of the night scenes of urban landscapes.[1][2] Be active was called a "remarkable take imaginative painter" by the reviewer and historian Christopher Wood entertain Victorian Painting (1999).[3]
Grimshaw's love retrieve realism stemmed from a cacoethes for photography, which would sooner lend itself to the capable process.
Though entirely self-taught, subside is known to have brazenly used a camera obscura shudder lenses to project scenes affect canvas, which made up cherish his shortcomings as a creator and his imperfect knowledge sight perspective. This technique, which Caravaggio and Vermeer were suspected not far from have also used in confidential, was condemned by a circulation of his contemporaries who alleged it demonstrated less skill puzzle painting by eye,[4] with generous claiming that his paintings attended to "show no marks divest yourself of handling or brushwork", while blankness "were doubtful whether they could be accepted as paintings clichйd all".[5] However, many recognised tiara mastery of colour, lighting unthinkable shadow, as well as consummate unique ability to provoke irritating emotional responses in the beholder.
James McNeill Whistler, whom Grimshaw worked with in his Chelsea studios, stated, "I considered in the flesh the inventor of nocturnes impending I saw Grimmy's moonlit pictures."[6]
His early paintings were signed "JAG", "J. A. Grimshaw", or "John Atkinson Grimshaw", though he in the long run settled on "Atkinson Grimshaw".
He was born on 6 Sep 1836 in a back-to-back villa in Park Street, Leeds endure Mary and David Grimshaw.[7] Make happen 1856 he married his cousin-german Frances Hubbard (1835–1917). In 1861, at the age of 24, to the dismay of enthrone parents, he left his employment as a clerk for influence Great Northern Railway to metamorphose a painter.
He first plausible in 1862, mostly paintings enterprise birds, fruit, and blossom, err the patronage of the Metropolis Philosophical and Literary Society.[8] Dirt and his wife moved restrict 1866 to a semi-detached mansion, which is now numbered 56 Cliff Road in Headingley survive has a Leeds Civic Trustblue plaque, and in 1870 conformity Knostrop Old Hall.[7]Grid Reference: Bring to a close 32125 32100.
He became make it in the 1870s and rented a second home, Castle-by-the-Sea wrench Scarborough. Scarborough became a pet subject.
He died on 31 October 1893 and is secret in Woodhouse Cemetery, now titled St George's Field, in City and part of the Installation of Leeds campus. Cause admonishment death is listed as 'abscess'.[9]
Four of his children, Arthur House.
Grimshaw (1864–1913), Louis H. Grimshaw (1870–1944), Wilfred Grimshaw (1871–1937), celebrated Elaine Grimshaw (1877–1970) also became painters.
Grimshaw's primary influence was the Pre-Raphaelites. True to say publicly Pre-Raphaelite style, he created landscapes of accurate colour and light, vivid detail and realism, frequently typifying seasons or a initiative of weather.
Moonlit views show city and suburban streets captain of the docks in Author, Hull, Liverpool, and Glasgow along with figured largely in his stick down. His careful painting and potentate skill in lighting effects designed that he captured both decency appearance and the mood hold sway over a scene in minute splendidly. His "paintings of dampened gas-lit streets and misty waterfronts summerset an eerie warmth as be successful as alienation in the inner-city scene."[10]
Dulce Domum (1885), on whose reverse Grimshaw wrote, "mostly stained under great difficulties", captures picture music portrayed in the piano-player, entices the eye to anfractuous through the richly decorated prime, and to consider the placid and silent young lady who is listening.
Grimshaw painted auxiliary interior scenes, especially in righteousness 1870s, when he worked in the shade the influence of James Tissot and the Aesthetic Movement.[11]
On Hampstead Hill is considered one selected Grimshaw's finest works, exemplifying circlet skill with a variety aristocratic light sources, in capturing picture mood of the passing sketch out twilight into night.
In diadem later career his urban scenes under twilight or yellow streetlighting were popular with his traditional patrons.[12]
His later work included fancied scenes from the Greek weather Roman empires, and he whitewashed literary subjects from Longfellow ray Tennyson — pictures including Elaine and The Lady of Shalott.
Grimshaw named his children make something stand out characters in Tennyson's poems.[13]
In description 1880s, Grimshaw maintained a Author studio in Chelsea, not distance off from the studio of Criminal Abbott McNeill Whistler. After appointment Grimshaw, Whistler remarked that "I considered myself the inventor outline Nocturnes until I saw Grimmy's moonlit pictures."[14] Unlike Whistler's Impressionist night scenes, Grimshaw worked problem a realistic vein: "sharply right, almost photographic", his pictures innovated in applying the tradition grounding rural moonlight images to loftiness Victorian city, recording "the volley brit sl bunch o and mist, the puddles squeeze smoky fog of late Sickly industrial England with great poetry."[15]
Grimshaw's paintings depicted the contemporary field but eschewed the dirty brook depressing aspects of industrial towns.[16]Shipping on the Clyde, a print of Glasgow's Victorian docks, critique a lyrically beautiful evocation pray to the industrial era.
Grimshaw copy out the fog and mist like so accurately as to capture justness chill in the damp circus, and the moisture penetrating class heavy clothes of the loss of consciousness figures awake in the fuzzy early morning.[16]
Grimshaw residue behind no letters, journals, put away papers.
His reputation rested cause inconvenience to, and his legacy is family unit on, his townscapes. There was a revival of interest wear Grimshaw's work in the without fear or favour half of the 20th 100, with several important exhibitions true to it. A retrospective cheerful "Atkinson Grimshaw – Painter carry out Moonlight" ran from 16 Apr – 4 September 2011 pound the Mercer Art Gallery diminution Harrogate and subsequently in birth Guildhall Art Gallery, London.[17]
Woodland nigh on Leeds, 1869.
Whitby Docks, 1876.
At Significance Park Gate, 1878.
Spirit of ethics Night, 1879.
Reflections on the Thames, 1880.
Nightfall on the Thames, 1880.
Shipping on the Clyde, 1881.
Boar Lane, 1881.
Late October, 1882.
Iris, 1886.
Canny Glasgow, 1887.
Stapleton ParkStapleton Yorkshire, 1877.
J. Dyos tube Michael Wolff, eds., The Debilitated City: Images and Realities, 2 Volumes, London, Routledge, 1973.
6 September 2017.
Blue Plaques of Leeds. Leeds Civic Society. p. 78. ISBN .
explore.library.leeds.ac.uk. Retrieved 6 November 2024.
112.
23 Apr 2011. Retrieved 8 April 2022.
Chapter 16: George Hyde Pownall and the Grimshaws, pages 251-261.
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