Fine Art Poster
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A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
London Bridge Half Tide - John Atkinson Grimshaw
Prix régulier
£28.00 GBP
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£28.00 GBP
Prix régulier
Giclée d'art
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Description
A nocturnal view of the Thames by John Atkinson Grimshaw, capturing the quiet atmosphere of London Bridge under moonlight.
John Atkinson Grimshaw, a painter based in Leeds, gained recognition for his atmospheric depictions of British urban life. This work, London Bridge Half Tide, captures the Thames at night, a subject that occupied the artist throughout his career. Grimshaw utilised a specific technique involving the application of oil paint over a photographic base, which allowed him to achieve the precise architectural details and the specific quality of light seen here.
The composition is dominated by the muted, greenish tones of the night sky and the reflective surface of the river. The moon, positioned slightly off-centre, provides the primary light source, casting a soft glow upon the masts of the moored ships and the silhouette of the bridge in the distance. The foreground features a barge with figures, providing a sense of scale and human activity against the industrial backdrop of the London docks. The stillness of the water contrasts with the vertical lines of the ship masts, creating a balanced visual rhythm.
Grimshaw was known for his ability to render the effects of gaslight and moonlight on wet surfaces. In this piece, the reflections on the water are rendered with careful attention to the ripples and the ambient light of the city. The architecture of the buildings lining the riverbank is suggested through subtle tonal shifts rather than sharp outlines, maintaining the hazy, nocturnal mood. This work reflects the artist's interest in the intersection of industrial progress and the natural environment during the late Victorian period. By focusing on the quiet moments of the city, Grimshaw documented the changing character of London's riverfront with a distinct, melancholic sensibility.
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Chaque impression est réalisée à la commande par impression giclée 12 couleurs sur papier d'archivage certifié FSC. Conçue en Grande-Bretagne et imprimée dans votre centre de production le plus proche afin de réduire le gaspillage et d'accélérer la livraison.
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Chaque pièce Solis est fabriquée sur commande avec des matériaux de qualité galerie, conçus pour durer, destinés à la conservation.
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Impression giclée de qualité musée sur papier mat d'archivage certifié FSC, avec options d'encadrement et sur toile.
- Formats de papier : A4, A3, A2, A1, A0 et B2 (50×70 cm)
- Toile : du XS (20×30 cm) au Grand (60×90 cm)
- Cadres : noir, bois naturel, bois foncé ou blanc
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London Bridge Half Tide - John Atkinson Grimshaw
Prix régulier
À partir de £28.00 GBP
Prix de vente
À partir de £28.00 GBP
Prix régulier
Fine Art Poster / A4 (21x29.7 cm) / -
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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Fine Art Framed
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The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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