John Atkinson Grimshaw
The trysting tree
Oil on card: 14(h) x 17.8(w) in / 35.6(h) x 45.1(w) cm
Signed and dated lower right: Atkinson Grimshaw 1881; signed, dated and inscribed on the backboard: The trysting tree / Atkinson Grimshaw / 1881
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JOHN ATKINSON GRIMSHAW
1836 - Leeds - 1893
Ref: CL 3691
The trysting tree
Signed and dated lower right: Atkinson Grimshaw 1881;
signed, dated and inscribed on the backboard:
The trysting tree / Atkinson Grimshaw / 1881
Oil on card: 14 x 17 ¾ in / 35.6 x 45.1 cm
Frame size: 23 ¼ x 27 ¼ in / 59.1 x 69.2 cm
Shepparton Art Gallery, Victoria, Australia, circa 1938
Richard Green, London;
Private collection, UK, 2014, acquired from the above
London, Richard Green, John Atkinson Grimshaw, September 2011, no.18, pp.56, 57, illus. in colour
The trysting tree is a consummate display of the artist’s extraordinary ability to create atmosphere with the teal-tinted clouds, the leafless, autumnal trees and the rain-soaked street acting in perfect harmony. The light source from the high, full moon creates an intricate and extensive pattern of reflection on the wet road. Grimshaw juxtaposes natural with artificial light as our gaze is drawn to the glow from the surrounding houses, the elements of nature matched by the meticulous treatment of the architecture in this wealthy suburb. On the left in the shadow of the trysting tree, a female figure, so often solitary in Grimshaw’s work, is joined by that of a man, the moonlight just revealing them holding hands. The sense of romance and mystery is further enhanced by the anonymity of the scene with the exact location withheld.
John Atkinson Grimshaw was a Victorian artist who became famous for his sombre views of the dockyards and his nocturnal scenes of urban lanes with leafless trees silhouetted against the moonlight sky. During his later life, he became a close friend of James McNeill Whistler who admired his work and admitted: ‘I considered myself the inventor of nocturnes until I saw Grimmy’s moonlight picture.’
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 and 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. He 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. He 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 his 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. Several of his children, Arthur Grimshaw (1868-1913), Louis Grimshaw (1870-1944), Wilfred Grimshaw (1871-1937) and Elaine Grimshaw (1877-1970), became painters.
The work of Grimshaw is represented in the Bradford City Art Gallery, the Shipley Art Gallery, Gateshead, the Gloucester Museum and Art Gallery, the Bankfield Museum, Halifax, the Harrogate Museums and Art Gallery, the Ferens Art Gallery, Kingston-upon-Hull, the Huddersfield Art Gallery, Kirklees Metropolitan Council, the Harris Art Gallery, Preston, the Leeds City Art Gallery, the Walker Art Gallery, Liverpool, the Guildhall Art Gallery and the Tate Gallery, London, the Scarborough Art Gallery, the Wakefield Art Gallery and Museums, the Pannett Gallery, Whitby, the Musée des Beaux-Arts, Brest, France, the Wadsworth Atheneum, Hartford, Connecticut, the Nelson-Atkins Gallery, Kansas City, Missouri, the Minneapolis Institute of Arts, Minneapolis, Minnesota, the Yale Center for British Art, New Haven, Connecticut, the Museum of Art, New Orleans, Louisiana, the Rhode Island School of Design, Providence, Rhode Island in the United States, the Shepparton Art Centre, Welsford, Victoria, Australia and the King George VI Art Gallery, Port Elizabeth, South Africa.