-
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 […]
-
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 […]
-
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, […]
-
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 […]
-
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 […]
-
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 […]
-
Van Goghs Favorites III: Arthur Boyd Houghton – Our One-eyed Artist in America
«Until now I never knew Boyd H[oughton] was so interesting (…) Very strange. (…) After you have seen my Boyd Houghtons from the first year of the Graphics you will understand more clearly what I wrote about the importance of this master’s work.» Vincent van Gogh to Anton van Rappard, February and April 1883 (Letters […]
-
Van Goghs Favorites II: Hubert Herkomer and the School of English Social Realism
“There is something virile in it – something rugged – which attracts me strongly (…) In all these fellows I see an energy, a determination and a free, healthy, cheerful spirit that animate me. And in their work there is something lofty and dignified – even when they draw a dunghill.” Vincent van Gogh, October […]
-
Van Goghs Favorites I: Xylographism unbound – The influence of illustrated journal graphics on the art of Vincent van Gogh.
Only in recent years has one gained the insight that Vincent van Gogh was not only a collector of Japanese graphic prints, like many of his artist colleagues, but was also imbued by a passion for the pictorial art of illustrated journals of his times. This was mainly thanks to two exhibitions: One, in spring […]