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Infinite Spaces. On William James Linton´s Vignette Art
Lintoniana VIII Infinite Spaces. On William James Linton’s Vignette Art “With the separation of draftsman and engraver began the decline of engraving as an art (…) began a system of special employment; and having to depend on draftsmen, engravers ceased to draw, ceased to rely on themselves. Wanting the wider power, the enevitable course was […]
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The Lake Country-Sketchbook , June 23-July 18th 1863
In addition to a number of studies on the flora of the Lakes, two sketchbooks of Linton with landscape views have come down to us. One is in the collection of Yale University, another in the Linton-Archive of the Melton Prior Institute. The latter contains watercolours and drawings made during hikes in the North East […]
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Rebellious Landscapes – William James Linton´s art of graphic Macchia.
Lintoniana VI What had laid the foundations for Linton’s reputation as a leading proponent of artistic xylography in the 19th century was the extraordinary intensity of his landscape depictions and the graphic freedom that he allowed himself to this end. The apex of his decade-long landscape work was marked in the mid 1860s by the […]
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On the Cadaver of the Father of Supranationality. – A further reading of Linton´s “Cetewayo and Dean Stanley” Conversation
Lintoniana V “Never did corpse of hero on the battle-field, (…) exite such emotions as the stern simplicity of that hour, in which the principle of utility triumphed over the imagination and the heart.“ (The Monthly Repository, 1832) What did Linton actually mean when, at the end of his conversation piece Cetewayo and Dean Stanley, […]
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William James Linton´s teaching piece “Cetewayo and Dean Stanley” (1880) – with an introduction by Alexander Roob
Lintoniana IV “History will speak of me.” – On Linton’s colonial-critical dialogue William James Linton grasped himself foremost as a political artist. In the biographical appendix of the compilation of lyrics, English Verse. Lyrics of the 19th Century, which he edited in 1883 together with the renowned literary critic Richard Henry Stoddard, he left no […]
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Illustration expanded. William James Linton: Bob Thin or the Poorhouse Fugitive. London, 1840- 45
Lintoniana III “Men like no prosy tales: we’ll try How doggrel rhyme fits history.” The MePri-Collection holds four different copies of Linton’s groundbreaking social poem in which he accuses the afflictions caused by the inhuman legislation for the poor. “This poem established Linton as a peoples poet and became part of the repertoire of radical […]
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Art or Craft. William James Linton vs. William Morris. A posthumous dispute.
The MePri Collection holds a wondrous scrapbook on wood engraving, affectionately combined and carefully lettered. The object was offered by a seller of autographs and announced as follows: “An autographed letter by William James Linton signed, to William Abercrombie, discussing his books, saying there is no large paper copy of the Hints. [on Wood-Engraving]. Tipped […]
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Social Credit & Direct Democracy – William James Linton: “The English Republic”. London / Brantwood, 1850-55
Lintoniana I “We are Utopians, theorists, dreamers, enthusiasts, fanatics, madmen, in a word, we are republicans.” W.J. Linton, 1850 In December 1850, almost two years after the revolutionary hopes of a democratic change had been buried Europe-wide under a mantle of resignation and depression, radical artisan William James Linton began to proclaim his forceful vision […]