Clyde Shipping, Wet Moonlit night 1883

by John Atkinson Grimshaw

DIMENSIONS: (unframed) 19.50 x 29.50 in./49.53 x 74.93 cm
SIGNATURE: Signed lower left & dated 1883; Inscribed with title and dated on reverse
MEDIUM: Oil on canvas

Description

Providing a glimpse into Victorian Scotland, John Atkinson Grimshaw’s atmospheric painting, Clyde Shipping, Wet Moonlit Night depicts a wet quayside street at twilight in the port town of Greenock, just outside of Glasgow. Painted during Grimshaw’s artistic apogee, this beguiling nocturnal townscape is characteristic of the late nineteenth-century works which brought the artist great success in his own period and further acclaim today.

The docks along the Clyde were among Grimshaw’s favourite subjects and one he revisited on numerous occasions. The industrial heart of the British Empire, this area around Glasgow was widely known for its shipyards which provided the means to link the distant territories of the Empire. This work represents both sides of industrial life: on the left, the tall and numerous ships remind the viewer of the backbone of British industrialism, and on the right we see the rewards of industry; electricity, elegant townhouses and shop fronts alluding to prosperity. Indeed, symbols of modernity shine through the entire scene; the golden lights of the electric street lamps and shop windows punctuate the dark townscape and glisten on the wet paving stones.

Provenance

Provenance

Purchased directly from the artist;
Private collection Canada and thence by family descent;
Private Collection, United Kingdom

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Biography

Biography

Born in Leeds, the son of an ex-policeman, Grimshaw first took up painting while he was employed as a clerk for the Great Northern Railway. He married his cousin Frances Theodosia Hubbarde in 1858. By 1861, he had abandoned his job in order to devote all his time to becoming an artist. In his early work, John Atkinson Grimshaw was influenced by John Ruskin’s creed of ‘truth to nature’ and adopted the detailed Pre-Raphaelite technique of the Leeds painter, John William Inchbold. Grimshaw was also fascinated by the relatively new art of photography and may have used a camera obscura in developing his compositions. Towards 1865, he renounced this painting style. Grimshaw painted many urban scenes in which moonlight and shadows were the most striking features. The towns and docks that he painted most frequently were Glasgow, Liverpool, Leeds, Scarborough, Whitby and London. These works have become Grimshaw’s best known though he also painted landscapes, portraits, interior scenes, fairy pictures and neo-classical subjects. Grimshaw painted mostly for private patrons. He only exhibited five works at the Royal Academy between 1874 and 1876.

By 1870, Grimshaw had become successful enough to move to Knostrop Old Hall, a seventeenth Century mansion about two miles from the centre of Leeds, which featured in many of his paintings. He rented another home near Scarborough which he called ‘The Castle by the Sea’, towards 1876. Grimshaw suffered a serious financial disaster in 1879 and had to leave his house at Scarborough. He moved to London and rented a studio in Chelsea, leaving his family at Knostrop. He returned to Knostrop, where he died in 1893.

Grimshaw painted mostly for private patrons. He only exhibited five works at the Royal Academy between 1874 and 1876.

 

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