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GRIMSHAWEXHIBITION BOOKHarrogate Borough Council is publishinga new book Atkinson Grimshaw: Painterof Moonlightto go with the exhibition,edited by Jane Sellars. It containsessays by a wide range of expertslooking at different aspects of the artist'slife and work, such as AlexanderRobertson, leading Grimshaw expert, onthe artist's working life in Leeds; EdwinaEhrman, V&A curator, on fashion andtextiles in Grimshaw's paintings; JaneSellars on Grimshaw's relationships withwomen, both in his life and his art; theWalker Art Gallery's Francis Milner onGrimshaw and the Pre-Raphaelites; andpainter and musician Steve Phillipslooking at the artist's paintingtechniques. The book will be publishedin April next year for the opening of theexhibition in Harrogate and will sell forĀ£20 paperback.orange in contrast to the overallgrey/green tone of the painting. Grimshaw's work stands out amongthat of his contemporaries for hispreoccupation with the new urban life.Not just the darkened drama ofindustrial smoke, steam and city clutter,as in Leeds Bridge, 1880 (Leeds City ArtGallery), but also with the suburbanstreet, as in October Gold, 1893 (privatecollection), and of course with the cityitself. Leeds - Boar Lane, Park Row,Roundhay Park -and London scenes(the Thames, Pall Mall, Piccadilly,Westminster and Southwark Bridge) arewell-represented in this exhibition. True drama comes to the foregroundin Grimshaw's paintings of the sea, mostfamously in his beloved Scarboroughand Whitby. In Peril, 1879 (Leeds CityArt Gallery) depicts the anguish ofwindswept figures on the harbour frontas they burn a beacon to guide the crewof a boat battered by a storm out in thebay. In Sic Transit Gloria Mundi,1876(Scarborough Art Gallery), the SpaSaloon is burnt to the ground by man-made disaster.In the 1870s and 1880s, Grimshawintroduced female figures into hispaintings, sometimes suggesting a historical period, as in Ye LadyeBountifulle, 1884 (private collection), but more often attempting depictions of the 'modern woman'. These works,such as Autumn Regrets, 1882 (ShipleyArt Gallery), are influenced by the work of fashionable French exile artist Tissot.The Chorale, 1878 (private collection)explores the subject of the prettywoman in an aesthetically appropriateinterior.At the end of his life, Grimshaw wasmore preoccupied than ever withquestions of colour, tone and light. Heproduced a series of tiny, subtly-toned oilpaintings that captured the extraordinarylight of sun, snow and mist on the beach;a series of small symphonies in green andgrey that link him forever with his closecontemporary, James Abbott McNeillWhistler (1834-1903). Grimshaw died of liver disease at theage of 57. The local paper marked hispassing: "By the death of Mr AtkinsonGrimshaw, of Knostrop Old Hall,yesterday morning, a Leeds artist of verygreat ability has passed away. He maybe regarded as self-taught in all thatgave character and distinction to his art.His methods, treatment and colouringwere quite unlike anything in ordinarypractice. Originality stamped his workfrom the first, and some of the effectswhich, early in his career, weresuccessfully attempted, excitedconsiderable controversy amongcontemporary artists. They showed nomarks of handling or brushwork, and nota few artists were doubtful whether theycould be accepted as paintings at all." John Atkinson Grimshaw: Painter ofMoonlight is at The Mercer Art Gallery,Harrogate, 16 April-4 September 2011.Tues to Sat 10am-5pm, Sun2pm-5pm, closed Mondays exceptBank Holidays. Admission free.www.harrogate.gov.uk/museumsTel: 01423 556188The exhibition will also be at theGuildhall Art Gallery, City of London,19 September-15 January, 2012.26NADFAS REVIEW / WINTER 2010www.nadfas.org.ukAbove:ParkRow, Leeds,1882. Grimshaw'swork is notablefor its focus on Victorianurban life

Three years after opening, TheLightbox once again brings a veryspecial treat to all its visitors. Thegallery in Surrey has become wellknown for a very different and variedexhibition programme, but one area thathas yet to feature has been fashion andcostume. An exhibition due to open inspring 2011 will close that gap.Essential Accessories: A History ofHandbags and Shoes is the result of aunique international partnershipbetween three UK museums andgalleries and The Tassen Museum inAmsterdam. The exhibition will bringfrom Amsterdam to Woking a wonderfulcollection of handbags, historic andcontemporary -never before seenoutside The Netherlands, and unite itwith the UK national collection of historicshoes from Northampton Museum andArt Gallery. This exhibition, following athree-month showing at The Lightbox,will travel to Sheffield to provide anopportunity for Northern-based visitorsto visit this unique exhibition.www.nadfas.org.ukNADFAS REVIEW / WINTER201027Above: 1920sjewelled heelpumps Below:Purse with silkand gilt threadembroidery,France 1700-1730Bags of interestFar from being mere fashion accessories, bags and shoes help track social change. Marilyn Scott,Director of The Lightbox in Woking, explains how a chance visit led to a fascinating new exhibitionESSENTIAL ACCESSORIESThe exhibition came about almost byaccident. Dr Patricia Wilkie, former Chairof Mayford DFAS and Trustee of TheLightbox, was on a family holiday inAmsterdam and, prompted by herdaughter, made a visit to the hiddengem which is the Tassen Museum. Themuseum is housed in a beautiful canalhouse, an old mansion built in 1664 atHerengracht in the heart of Amsterdam.The house was built for the mayor ofAmsterdam. In the museum are twoperiod rooms with painted ceilings andchimneys from the 17th and 18thcenturies. The building was restored in2007 to house the museum. Patricia,enchanted by the collection, madecontact with the Director Sigrid Ivo andthe idea of the collaboration was born. The Tassen Museum has a fascinatinghistory. It is the result of over 35 years ofcollecting by Hendrikje Ivo and is nowcurated and managed by her daughter,Sigrid. The collection now contains morethan 3,500 bags. Hendrikje began herfascination for collecting bags when she