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Linda Adato

1942 -

Linda Adato was born in England and studied at Hornsey College of Art. She emigrated to the United States in 1962 and received her MA from UCLA. She was president of the Society of American Graphic Artists (SAGA) from 2007-2010 and is a member of the Boston Printmakers and a lifetime member of the Silvermine Guild of Artists.

Adato is a master of color intaglio. Her work is distinctive for its delicate synthesis of composition, subtle use of color, classical elegance, and personal interpretation of the architecture of New York City chambers and ancient ruins in Spain, Italy, Turkey, and her own backyard in New Rochelle. She has been making color etchings for over twenty-five years and has mastered the a la poupee, one plate method of color printing.  Her subtle use of color, together with her precise wiping of each section of her compositions, demonstrates her technical perfection in this process. In Ascend, a color etching, the vertical shafts of steel and glass of an exterior staircase contrast with the lower profiles and decorative lines of older buildings. In the etching, Marking Time, the viewer is inside a dark chamber looking through a decorative Islamic arch onto a courtyard that is in blazing sun with shadows of other arched openings reflected on the left wall.

Her prints have been exhibited throughout the United States and Europe. She has received many awards from institutions including the National Academy of Design, the Society of American Graphic Artists, Boston Printmakers, Print Club of Albany, Audubon Artists, and Connecticut Graphics Arts Center.  Adato’s work is in the Permanent Collections of The Achenbach foundation for Graphic Arts, Fine Arts Museum of San Francisco, CA; Corcoran Gallery of Art, Washington, D.C.; National Museum of Women in the Arts, Washington, D.C.; Portland Art Museum, Portland, OR; Newark Public Library, Newark, NJ.; New York Public Library, NY; The British Museum, London, England; Mississippi Museum of Art, Jackson, MS; Bruce Museum, Greenwich, CT, among others.

“I love the process of etching, of working the plate through the stages of hard ground line etching, using aquatint for tones and soft ground for texture. Taking a proof at each stage you can see where you've gone and what can be. I start the image abstractly from the geometries of things around me, their configuration of line, form, shadow, etc. In the journey from drawing to final print, I do not so much execute the initial idea as I develop it in the course of the intaglio process. I am sometimes surprised by the ‘realistic’ image.”