John Linnell

British, 1792 - 1882

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The image shows a sketch of a rural landscape viewed from a slightly elevated perspective. Multiple bunches of harvested crops are seen in neatly tied bundles across a gently sloping field. Farther away, additional fields with similar bundles stretch towards the horizon. Softly outlined trees mark the boundary of the field, partially obscuring the horizon line set at a higher level in the composition. The background features rolling hills and clusters of trees, sketched with delicate pencil strokes. The pencil marks are light and soft, portraying a loose, flowing style that captures the natural shapes of the landscape. The color palette is monochromatic due to the use of graphite pencil on off-white, slightly tan paper, highlighting the texture of the scene without color.
John Linnell, The Harvest Field, c. 1860, black chalk heightened with white on brown wove paper, Gift of William B. O'Neal, 1995.52.112

The Harvest Field

John Linnell · c. 1860 · black chalk heightened with white on brown wove paper ·  Accession ID  1995.52.112
The image is a landscape view with a progression of elements from left to right. The horizon is above the center, showing rolling hills meeting a cloudy sky. The painting is textured with brushstrokes, featuring earthy and muted colors. Two figures are near a fallen tree, with a river to the right surrounded by trees and foliage. The sky has dynamic clouds.
John Linnell, Travelers Resting by a Fallen Tree, 1852, watercolor and gouache with pen and brown ink over graphite on wove paper, Paul Mellon Collection, 1986.72.9

Travelers Resting by a Fallen Tree

John Linnell · 1852 · watercolor and gouache with pen and brown ink over graphite on wove paper ·  Accession ID  1986.72.9
The image shows a sketch of a rocky terrain with sparse vegetation and a stream. The viewpoint is slightly elevated, and there are trees lining the horizon. The sketch uses loose pencil strokes to depict the scene in various shades of gray on light brown paper. In the distance, outlines of trees and a potential structure can be seen.
John Linnell, Bayswater, Clearing the Ground between Queen's Road and Porchester Terrace, 1830, black chalk heightened with white on brown wove paper, Gift of William B. O'Neal, 1995.52.108

Bayswater, Clearing the Ground between Queen's Road and Porchester Terrace

John Linnell · 1830 · black chalk heightened with white on brown wove paper ·  Accession ID  1995.52.108
This image shows a man from the waist up, in profile view, with facial features revealing a prominent nose and deep-set eyes, and wearing a high-collared garment with a scarf or cravat wrapped around his neck. The background is plain with a textured pattern, and the bottom of the image contains text identifying the man as Thomas Chevalier, Surgeon Extraordinary to the King and Professor of Anatomy and Surgery for the Royal College of Surgeons in London.
John Linnell, Thomas Chevalier, 1825, etching, Rosenwald Collection, 1980.45.1760

Thomas Chevalier

John Linnell · 1825 · etching ·  Accession ID  1980.45.1760
The image shows a seascape painted from a distant viewpoint. The water extends towards the horizon with faint outlines of land masses and sailboats. The brushstrokes are delicate and fluid, conveying calmness and tranquility with soft blending. The color palette is muted with tones of beige, gray, and pale blue. The water close to us is depicted with wide strokes suggesting slight ripples. Sailboats and land lines add detail while maintaining a sense of stillness and openness.
John Linnell, Sailboats on Southampton River, 1819, watercolor on wove paper, Paul Mellon Collection, 1986.72.10

Sailboats on Southampton River

John Linnell · 1819 · watercolor on wove paper ·  Accession ID  1986.72.10
This image shows a pastoral scene with a flock of sheep in a landscape. A large tree shades the sheep. In the background, there are trees, fields, and a church steeple. The drawing style is detailed and uses precise lines for texture. It is monochromatic and uses varying line density for contrast. Other animals can be seen grazing in the distance. Overall, the image portrays a peaceful rural setting.
John Linnell, Sheep at Noon, 1818, etching on laid paper, Gift of Charles Ryskamp in honor of Paul Mellon, and in Honor of the 50th Anniversary of the National Gallery of Art, 1991.154.7

Sheep at Noon

John Linnell · 1818 · etching on laid paper ·  Accession ID  1991.154.7
The image depicts a man from the chest up, facing forward. He is in a three-quarter view, looking slightly to the left. The man has a somber expression, with prominent eyes and a straight nose. His hair is styled in a long, wavy manner and covers his ears, reaching the nape of his neck. He is wearing a dark coat with a high collar and a white cravat tied around his neck. The background is plain. Below the portrait, text identifies the man as John Martin, Pastor of the Church Meeting at Keppel Street, London. The portrait is labeled as painted and engraved by I. Basire in 1817.
John Linnell, John Martin, 1817, engraving in black on chine collé on wove paper, Gift of Charles Ryskamp in honor of Paul Mellon, and in Honor of the 50th Anniversary of the National Gallery of Art, 1991.154.8

John Martin

John Linnell · 1817 · engraving in black on chine collé on wove paper ·  Accession ID  1991.154.8
The image is a pencil sketch depicting a tall tree that dominates the scene. The horizon is not clearly defined, with the focus on the tree's details. The trunk and branches are drawn with delicate, sinuous lines, while foliage is represented by light pencil strokes, suggesting natural movement. The sketch uses a monochromatic palette to create depth and texture, with varying shades of pencil. The tree's trunk and branches are detailed up close, while the foliage blends softly into the background. The drawing has a loose, airy feel, emphasizing the tree's organic intricacies without overwhelming detail.
John Linnell, A Beech Wood, 1815, graphite heightened with white chalk on wove paper, Gift of William B. O'Neal, 1995.52.109

A Beech Wood

John Linnell · 1815 · graphite heightened with white chalk on wove paper ·  Accession ID  1995.52.109
The landscape drawing depicts an open area with a high horizon showing trees and low-lying structures. The art style features light pencil strokes and a monochrome color palette. The scene includes a flat surface, potentially water or a path, leading to distant trees and structures.
John Linnell, Landscape in Hertfordshire, 1814, black chalk heightened with white gouache on blue wove paper, Gift of William B. O'Neal, 1995.52.114

Landscape in Hertfordshire

John Linnell · 1814 · black chalk heightened with white gouache on blue wove paper ·  Accession ID  1995.52.114
This image features a distant view of a broad, flat landscape with a low horizon. Trees create a silhouette at the horizon, and a figure near the center provides scale. The drawing uses a pencil or graphite technique with soft strokes creating textures. The color palette is subdued with a pale blue paper tone.
John Linnell, Paddington Fields, London, 1811, black and white chalk on blue paper, Ailsa Mellon Bruce Fund, 2018.88.2

Paddington Fields, London

John Linnell · 1811 · black and white chalk on blue paper ·  Accession ID  2018.88.2