art museum gallery : John Atkinson Grimshaw

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Jumat, 27 April 2012

A lake landscape at sunset - John Atkinson Grimshaw

A Moonlit Road, 19th century - John Atkinson Grimshaw

Nab Scar from the South Side of Rydal Water - Heather in Bloom, September, 1864 - John Atkinson Grimshaw

A Summer Noon, old farmstead, Wharfedale - John Atkinson Grimshaw

Kamis, 26 April 2012

Lady bountiful - John Atkinson Grimshaw

Sunshine through winter trees - John Atkinson Grimshaw

Where the pale moonbeams linger - John Atkinson Grimshaw

Going to Church, 1880 - John Atkinson Grimshaw

Sabtu, 21 April 2012

Hampstead Hill, looking down Heath Street, John Atkinson Grimshaw

Rabu, 18 April 2012

Late October

signed and dated l.r.: Atkinson Grimshaw 1882
oil on card
46 by 35.5cm., 18 by 14in.

John Atkinson Grimshaw painted a series of views of suburban streets in London and Yorkshire from the 1870s onwards and in the 1880s he painted some of his most beautiful pictures of this subject. The pictures of a solitary female figure, a maid dressed in a cap and shawl and carrying a basket of provisions or laundry, making her way down a leaf and puddle strewn road, are the most emotive and typical of the artist, who was unrivalled in his depiction
of the evening gloaming and the dawning morn. Whether he was painting suburban roads, the docks at Whitby andLiverpool or the shopping streets of Leeds; busy and noisy places during the day, Grimshaw painted the silent solitary evening still, when the residents, dock-workers and shop assistants return home, or the first hours of the morning when only servants are awake and active. The horses and carts, have left their impressions in the damp soil of the
road, suggesting that some deliveries have already been made but the gateways remain closed to the outside world.

There is an emotive sense of stillness and calm which pervades these golden images of morning light. Late October depicts an unidentified view and is probably an amalgam of views in North Yorkshire, rather than a specific identifiable location. As Alexander Robinson states, 'Just as myth and legend were to be plundered for subjects, so actual and historical houses could be put together to form an archetypical mansion'. However the same house appears in many pictures by the artist and it is likely that it did exist, probably in one of the suburbs of Leeds, where the artist often painted. The house, or a similar one, features prominently in A Yorkshire House of 1878 (Harrogate Museums and Art Gallery), A Golden Idyll (sold in these rooms, 12 December 1997, lot 181), Gold of Autumn (sold in these rooms, 6 November 1995, lot 199) and related pictures. This series of pictures recall the lines of Lord Alfred Tennyson's Enoch Arden;

'The small house,
The climbing street, the mill, the leafy lanes,
The peacock-yew tree and the lonely Hall...
The chill November dawns and dewy-glooming downs,
The gentle shower, the smell of the dying leaves...'

Although Grimshaw was inspired by the modernism of industrial dockyards and the lamplit city commercialism, he was also a great admirer of the crumbling heritage of England, with a deep love for Elizabethan and Jacobean architecture. Amongst the items which remained in his estate when he died, were a handful of his most precious books, including A History of Hardwick Hall of 1835. Grimshaw painted many street scenes in which beautiful ancient
houses stand hauntingly silent, bathed in the golden dawn light and surrounded by birch trees stripped bare by the approaching winter.

Painted with a limited palette of gold, moss-green and russet, with a meticulous attention to detail, Grimshaw created an image which is powerfully romantic and yet wholly realistic. This picture is a radiant painting by Grimshaw in which his characteristic malachite sky is replaced by a wonderfully luminous autumnal glow of early morning as the sun rises over the horizon and the maid makes her way to work.

Autumn Gold

signed and dated l.r.: Atkinson Grimshaw/ 1880+
oil on board
47 by 38cm., 18½ by 15in.

Kamis, 02 Februari 2012

Under the Leafless Trees by John Atkinson Grimshaw

Kamis, 26 Januari 2012

John Atkinson Grimshaw - In the artist's house

signed and dated 'Atkinson Grimshaw/1878 May' (lower right), and signed and inscribed 'A reverie Atkinson Grimshaw' (on the stretcher)
oil on canvas
32¾ x 48¼ in. (83.3 x 127.7 cm.)

Although Grimshaw is best known for his moonlit 'nocturnes', of British ports and the lanes of suburban Leeds, he produced in the 1870s a remarkable group of works celebrating the interiors he created at Knostrop Hall, a house he leased on the Temple Newsam estate.

These demonstrate the prevailing taste for Japanese objects. Following the dawn of the Meiji period, during which Japan, after centuries of self-imposed isolation, sought to strengthen its links with the West, Japanese textiles, fans and ceramics became a pre-requisite for fashionable, 'aesthetic' interiors. The eclecticism of this taste is shown in the richly stamped wall paper, which showed the Jacobean furniture to best advantage. The exoticism is continued in the deliberately archaic costume of the sitter who wears her hair, her gown and slippers in a pastiche of the fashions of Regency England. Everything in the interior has been carefully collected, and composed to demonstrate a refined sensibility.

In this small series of pictures of his house and garden, Grimshaw demonstrates his versatility as an artist. Several carry echoes of Alma-Tadema, and Tissot, and they brought the artist to the attention of leading London galleries, such as Agnew's, who started to sell his work from the 1880s onwards. Perhaps Grimshaw's most sophisticated and celebrated interior, entitled 'Dulce Domum', is now in the collection of Lord Lloyd Webber and was exhibited at his exhibition at the Royal Academy, Pre-Raphaelite and Other Masters, 2003, no. 117.

http://www.christies.com/lotfinder/john-atkinson-grimshawbistrongemfont-in-the/5279733/lot/lot_details.aspx?from=searchresults&intObjectID=5279733&sid=56633591-dbdb-46f3-9027-19fa8ee00236

Rabu, 25 Januari 2012

John Atkinson Grimshaw - The Sere and Yellow Leaf

Price Realized
£127,250
($248,010)

signed 'Atkinson Grimshaw' (lower left) and further signed and inscribed 'In the Sere and Yellow/Atkinson Grimshaw' (on the reverse)
oil on canvas
12 x 18 in. (30.5 x 45.7 cm.)
http://www.christies.com/lotfinder/john-atkinson-grimshaw-the-sere-and-yellow/5089456/lot/lot_details.aspx?from=searchresults&intObjectID=5089456&sid=56633591-dbdb-46f3-9027-19fa8ee00236

John Atkinson Grimshaw - The Harvest Moon

Price Realized
($396,165)
£192,500

signed, inscribed and dated 'Atkinson Grimshaw 53 72' (lower right) and further signed and inscribed 'Painted by Atkinson Grimshaw Knostrop Old Hall Leeds' (on a label on the frame), and inscribed on the stretcher 'Under the Harvest Moon Atkinson Grimshaw Knostrop Hall Leeds. 53 72+'
oil on canvas
20 x 30 in. (50.8 x 76.2 cm.)

This is a rare composition, where the artist has responded to the landscape before him with great sensitivity. In his early career, Grimshaw painted views, notably in the Lake District, with Pre-Raphaelite intensity and attention to detail. Later, in the 1860s, he enjoyed the friendship of John Linnell. Linnell was the son-in-law of Samuel Palmer, and some of Palmers, and Linnells ideas undoubtedly influenced the younger artist, especially after works by Linnell were shown at the Leeds Infirmary in 1868.

Under the Harvest Moon seems imbued with the spirit of English Romanticism. It is an early essay in the 'nocturnes that made Grimshaw famous. The effect of moonlight, on the hanging wood in the distance, the top of the cart laden with hay, and the gently meandering farm track, is expressed with great poetry. As opposed to later suburban lane scenes, which were often repeated, the artist has carefully considered each element of the composition and there is nothing formulaic in his rendition.

Dated 1872, the picture stands firmly within the decade where Grimshaw saw his career take wing. He moved to Knostrop Old Hall, outside Leeds, and started to be promoted by Thomas Agnew & Sons, who also had branches in the commercial centres of Manchester, Liverpool and Glasgow, where his work found a ready market.

http://www.christies.com/lotfinder/john-atkinson-grimshaw-the-harvest-moon/5001024/lot/lot_details.aspx?from=searchresults&intObjectID=5001024&sid=56633591-dbdb-46f3-9027-19fa8ee00236