Sammlung
John Atkinson Grimshaw
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Canny Glasgow - John Atkinson GrimshawPrint
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Humber Docks, Hull – John Atkinson GrimshawPrint
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Blackman Street, London – John Atkinson GrimshawPrint
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The Heron's Haunt - John Atkinson GrimshawPrint · Framed
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Colwith Force - John Atkinson GrimshawPrint · Framed
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Park Row, Leeds - John Atkinson GrimshawPrint · Framed
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Evening, Whitby Harbour - John Atkinson GrimshawPrint · Framed
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A Dead Linnet - John Atkinson GrimshawPrint · Framed
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Arriving in the Hall - John Atkinson GrimshawPrint · Framed
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Golden Eve - John Atkinson GrimshawPrint · Framed
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Liverpool from Wapping - John Atkinson GrimshawPrint · Framed
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Knostrop Cut, Leeds, Sunday Night - John Atkinson GrimshawPrint · Framed
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Reflections on the Thames, Westminster - John Atkinson GrimshawPrint · Framed
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The Chill of Autumn - John Atkinson GrimshawPrint · Framed
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Dulce Domum - John Atkinson GrimshawPrint · Framed
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Whitby from Scotch Head - John Atkinson GrimshawPrint · Framed
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Elaine - John Atkinson GrimshawPrint · Framed
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Stapleton Park near Pontefract - John Atkinson GrimshawPrint · Framed
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Evening, Knostrop Old Hall - John Atkinson GrimshawPrint · Framed
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Battersea Bridge - John Atkinson GrimshawPrint · Framed
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In the Golden Gloaming - John Atkinson GrimshawPrint · Framed
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Autumn Gold - John Atkinson GrimshawPrint
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Dido - John Atkinson GrimshawPrint
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The Thames Below London Bridge - John Atkinson GrimshawPrint
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Artist Biography
John Atkinson Grimshaw
Grimshaw painted Victorian cities at night, in rain, by moonlight, and in autumn, which covers most of the conditions available in northern England. The lamp-lit streets of Leeds, Liverpool, Scarborough, and London glow with a wet, precise luminosity that makes you want to put on a coat and walk into the painting.
He was born in Leeds, the son of a retired policeman. His parents disapproved of his artistic ambitions. He married his cousin and settled in Knostrop Old Hall, a manor house outside Leeds that appears in several of his paintings. He was largely self-taught, influenced by the Pre-Raphaelites' attention to natural detail and by Whistler's tonal paintings, particularly the Nocturnes.
His technique is painstaking. The moonlit skies are built up in thin glazes. The reflections on wet pavements are precise. The bare trees, silhouetted against pale skies, are painted branch by branch. The figures are small and anonymous, walking through streets that are atmospheric rather than narrative. He rarely told stories. He painted moods.
Whistler reportedly said 'I considered myself the inventor of nocturnes until I saw Grimshaw's moonlit pictures.' Whether Whistler actually said this is uncertain (Whistler said many things), but the comparison is fair. Both painted the same subject, night, with the same seriousness, though Grimshaw's approach was more literal and Whistler's more abstract.
He worked prolifically, partly from financial necessity. He had many children and the manor house was expensive to maintain. He died in 1893, at fifty-seven, and fell out of critical favour for most of the twentieth century. His paintings now sell well at auction and are among the most popular Victorian images in print.
He was born in Leeds, the son of a retired policeman. His parents disapproved of his artistic ambitions. He married his cousin and settled in Knostrop Old Hall, a manor house outside Leeds that appears in several of his paintings. He was largely self-taught, influenced by the Pre-Raphaelites' attention to natural detail and by Whistler's tonal paintings, particularly the Nocturnes.
His technique is painstaking. The moonlit skies are built up in thin glazes. The reflections on wet pavements are precise. The bare trees, silhouetted against pale skies, are painted branch by branch. The figures are small and anonymous, walking through streets that are atmospheric rather than narrative. He rarely told stories. He painted moods.
Whistler reportedly said 'I considered myself the inventor of nocturnes until I saw Grimshaw's moonlit pictures.' Whether Whistler actually said this is uncertain (Whistler said many things), but the comparison is fair. Both painted the same subject, night, with the same seriousness, though Grimshaw's approach was more literal and Whistler's more abstract.
He worked prolifically, partly from financial necessity. He had many children and the manor house was expensive to maintain. He died in 1893, at fifty-seven, and fell out of critical favour for most of the twentieth century. His paintings now sell well at auction and are among the most popular Victorian images in print.
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