Day Dreams - John Atkinson Grimshaw
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A detailed Victorian interior scene featuring a woman reclining on a chaise longue, surrounded by decorative porcelain and period furnishings.
John Atkinson Grimshaw is primarily recognised for his nocturnal urban scenes, yet 'Day Dreams' (1874) offers a departure into the domestic interior. This work captures a woman reclining on a chaise longue, surrounded by the material culture of the late Victorian era. The composition reflects the influence of Aestheticism, a movement that prioritised the sensory experience of beauty and the arrangement of decorative objects within the home.
The interior is filled with specific items that signal the owner's taste and social standing. Fans are mounted on the wall, while blue and white porcelain vases and plates are displayed on a shelf behind the sitter. These objects, often imported from East Asia, were highly sought after by collectors during this period. The sitter herself is dressed in a light, flowing gown, her posture relaxed and contemplative. The textures of the lace, the upholstery, and the wooden panelling are rendered with precise attention to detail, a hallmark of Grimshaw's technique.
Unlike his moody, gas-lit street scenes, this painting uses a warmer, more domestic colour palette. The amber tones of the wood and the soft light falling across the room create a sense of quietude. The painting functions as a study of private life, where the subject is detached from the external world. By focusing on the arrangement of the room and the stillness of the figure, Grimshaw invites the viewer to observe the atmosphere of a Victorian drawing room. The inclusion of framed pictures on the wall adds another layer to the composition, suggesting a space curated for personal reflection. This work provides a view into the private sphere of the nineteenth century, where art and comfort were closely linked.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Day Dreams - John Atkinson Grimshaw
Artist Biography
John Atkinson Grimshaw
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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