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In 1828-1829, he undertook a long sketching tour through Italy, travelling from the North to the South coast. On his second, more extended tour, he travelled around the
Mediterranean, visiting the South of France, Sicily, Italy, Malta and Greece. The result of these journeys was a great number of
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William Linton. A descriptive catalogue (en route) of Mr. Linton's sketches of scenery in Greece: and its islands, Sicily and
Calabria; with a catalogue of his sketches of scenery in Italy, Northern and Southern, Malta, Switzerland, Germany, and France, in his new Gallery, No. 7, Lodge Place, near
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than by Mr W.Linton. We admire the breadth, repose, and sobriety of the tone which are so favourable to architectural effect in his pictures, and Mr Linton never resorts to those artifices of light by which so many modern artists attempt to throw a strained and unnatural interest over their
219:‘Sketches in Italy: being a selection from upwards of five hundred of the most striking and picturesque scenes in various parts of Piedmont: the Milanese, Venetian, and Roman States; Tuscany; and the Kingdom of Naples; sketched during a tour in the years 1828-1829.’
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Sketches in Italy: being a selection from upwards of five hundred of the most striking and picturesque scenes in various parts of
Piedmont: the Milanese, Venetian, and Roman States; Tuscany; and the Kingdom of Naples; sketched during a tour in the years 1828-1829.
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87:(1714–1782). Eventually he made art his profession. Linton's later works still bear strong influence of Claude Lorrain's manner with its investigation of natural light effects, of Richard Wilson with his large-scale panoramic compositions, and particularly of
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Records of
Several of Mr. Linton's Works, which have appeared in the London Exhibitions in the course of half a Century; with the opinions of the Public Journals. Also a Biography, with Press Notices of The Scenery of Greece, and Ancient and Modern Colours.
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These sketches were successful on their own right, but also they formed a basis for his large-scale landscape oil paintings which firmly established his reputation as a leading landscape artist in classical style.
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where later he spent holidays. At the age of sixteen he was placed in a merchant's office. He however did not like the job. For his own pleasure, he started to copy works by
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Christie, Manson & Woods. The
Beautiful Works by William Linton; Entire collection of the beautiful and truly classical works of William Linton. Christie. 1860.
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251:. Large sales of his collection were held at the Christie's in 1860, and again after his retirement in 1865. William Linton died in December 1876.
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Linton had wealthy patrons, and his large-scale painting 'Positano, Gulf of
Salerno' (Wolverhampton Art Gallery) was commissioned by the
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Barbara
Hofland and William Linton. Poetical illustrations of the various scenes represented in Mr. Linton's "Sketches in Italy". 1832.
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At that time, his subjects often presented scenery in
Scotland and in the North of England, especially in the vicinity of the Lakes.
272:“We know of few painters whose life’s work, if collected together into one Gallery, would make a more splendid appearance than this”.
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A table of colours for oil painting, with notices of their chemical and artistical properties. London, privately printed. 1859.
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Ancient and Modern
Colours, from the Earliest Periods to the Present Time, with their Chemical and Artistical Properties. 1852.
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Ancient and Modern
Colours, from the Earliest Periods to the Present Time, with their Chemical and Artistical Properties
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In 1831, he married Julia Adelina Swettenham (1806–1867), a niece to the Countess of Winterton. They settled down in
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The real aspect of Venice itself and of the Grand Canal has never been more faithfully rendered, even by Canaletti
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At the same time, Linton also presented himself as a man-of-letters: in 1832, he published a book
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The reviewer of the 1851 exhibition at the Royal Academy wrote about Linton's 'View of Venice':
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This article is about the British landscape artist. For the Anglo-American wood engraver, see
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Poetical illustrations of the various scenes represented in Mr. Linton's "Sketches in Italy".
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420:. the New York Public Library: G. B. Whittaker, Treacher & Co. 1831. p. 49
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E Benezit. Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Craveurs. Tome 5.
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of Linton's drawing of Delos (as above) for The Winter's Wreath annual, 1831.
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Viardot, Louis. A Brief History of the Painters of All Schools. London, 1877.
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244:, London, where in the 1840s he opened a Gallery at 7, Lodge Place, London.
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for Fisher's Drawing Room Scrap Book, 1833 with a poetical illustration by
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George H Shepherd. A Short History of the British School of Painting.1891.
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The Annual Register, Vol.73, 1832; The Gentleman Magazine, Vol.150, 1831.
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Scenery of Greece and its Islands, illustrated by fifty engravings. 1832.
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91:(1714–1789) with his inclination to an idealised classical landscape.
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Colonel M.H. Grant. A Dictionary of British Landscape Painters. 1970.
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for The Literary Souvenir annual, 1828 and accompanied by the poem
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Scenery of Greece and its Islands, illustrated by fifty engravings
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395:. Vol. 33. London: Smith, Elder & Co. pp. 332–334.
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By 1817 Linton settled in London and started to exhibit at the
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From the 1860s, he started to sell his works through
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and collaborated with celebrated children writer Mrs
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Linton's large-scale architectural phantasy 'Delos' (
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He was a talented chemist and published in 1852 the
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The Return of a Victorious Armament to a Greek City
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607:Members of the Royal Society of British Artists
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123:in 1823-1824 and was its President in 1837.
55:(1791–1876) was a British landscape artist.
26:For other people named William Linton, see
334:Christopher Wood. Victorian Painters.1995.
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340:JGP Delaney. William Linton. Oxford DNB.
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39:William Linton. Self-Portrait. c.1821.
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475:The Gentleman Magazine, Vol.223, 1867.
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363:24 artworks by or after William Linton
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229:(1770–1844) on the book ‘
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83:(Lorrain, 1600–1682) and
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177:"the new Richard Wilson"
134:Albanian Mountains with
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495:Photo + works of Linton
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63:Born in
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