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  • The Hampstead Annual, 1902 (Classic Reprint)

The Hampstead Annual, 1902 (Classic Reprint)

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Excerpt from The Hampstead Annual, 1902 Linnell, at least, in that capacity of landscape painter to which he owes most of his celebrity, is com monly regarded as a Surrey painter, for the latter part of his long life was spent at Reigate, and this was the period during which he was exclusively devoted to land scape nor needed he, when living at Reigate, to go far from home to find subjects both attractive in themselves, and harmonising with his peculiar genius. In the early part of his life, however, he had no special connection with Surrey. He was born in Bloomsbury on June 16, I792, and, in his youth, took his landscape subjects from the banks of the Thames, from the sea-coast near Hastings, and from the London parks. His principal source of income, however, was portrait painting, and in this, too, he greatly excelled. He was also an engraver, and occasionally engraved his own portraits, a circum stance worth noting, as, when he became known to Blake, their practice of a common art tended to cement their Intimacy. We first hear of him at Hampstead in July, 1822, when he took Hope Cottage, North End. He would no doubt wish to procure a purer air for his growing young family, and the special impulse to this particular neighbourhood may have been imparted by the portrait he had painted of Lord Mansfield's daughterjohn Linnell and William Blake at Hampstead. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully, any imperfections that remain are intentionally left to preserve the state of such historical works.
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