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379:), which is perhaps one of the most impressive paintings in his oeuvre. Linnig treats the subject in a particularly original manner by portraying the "Soho", a steamer of the London General Steam & Navigation Company, not as seen from its starboard or its port side as was customary, but rather in frontal view. As a result, the steamer is shown in extreme foreshortening and the bow of the ship gets the full attention. This special angle, combined with details such as the ship’s powerful radar unit, the rough sea, the stormy weather and the dilapidated guardhouse create an energetic and dynamic composition.
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215:. In 1842 Linnig decided to put an end to his academic studies. In the summer of the following year he joined the crew of fishing boats in order to study all ship maneuvers in detail. Linnig would in later years continue to take small sea trips for inspiration. One of the trips inspired him to the painting
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Linnig trained early on as an etcher and was one of the first to practise this art as an autonomous genre. He is regarded as one of the first realistic engravers in
Belgium. His etchings, while technically finished, preserve a character of free and swift execution. The subject matter of his graphic
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Linnig presented four works at the
Antwerp Salon of 1849. These were ordinary marines as well as ship portraits. From 1849 onwards Linnig regularly exhibited in Germany, where his marines met with success and were collected by several museum. In the late 1840s and early 1850s Linnig participated a
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Linnig's marine paintings are always well balanced and pay particular attention to topographical accuracy. His work provides an important testimony on the history of seafaring since he worked during the pivotal period that marked the transition from sailing ships to steamships. His works are also
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From the 1850s onwards Linnig produced many marines. These were either general genre scenes or scenes depicting a named ship playing a principal role in the action. The latter were a form of combination between a ship portrait and general marine painting and were usually made on the commission of
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The subject matter of Linnig's work is mainly marines, ship portraits and coastal landscapes. He also made some genre scenes. The
Scheldt in Antwerp up to its estuary was one of his main sources of inspiration. He also had an interest in depicting the Flemish coastal towns, as evidenced by his
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movement in
Belgian marine painting. This movement saw its heyday between 1830 and 1860. Linnig is a typical representative of this movement in the choice of his subject matter, which covers the usual romantic scenes such as storms, high seas and shipwrecks. He had a special preference for the
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work included marines and ship portraits as in his painterly oeuvre and extended beyond this to coastal landscapes, topographical views of harbours and city scenes as well as genre scenes with people such as fishermen and women busy on the beach, in ports or on markets. He also engraved a
176:, the director of the Academy. Linnig was from the start more attracted to the marine genre and took advantage of van Bree’s death in 1839 to change his teacher to Jacques van Gingelen, a landscape painter and engraver. Linnig’s classmates and contemporaries during those years included
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museum in The Hague, he studied the works of old and contemporary masters. Linnig later wrote that this trip to The
Netherlands was decisive for the development of his conception of art and that this new conception was reflected in his composition
287:. It depicts the trading vessel the 'Constant' after it ran on a coral reef off the coast of a small island near New Guinea on 15 June 1858. It also shows how, after abandoning ship, the crew tries to go on land after the lifeboats sprang a leak.
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Linnig died in Sint
Willibrords on 16 October 1860. The cause of death was pneumonia, which he had contracted after he missed his jump from a gig and had fallen into the water.
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235:. He submitted this work to the 1845 Triennial Salon in Brussels. In 1847 Linnig sailed to Norway. In or shortly before 1848 he moved from Antwerp to St Willibrords.
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While still enrolled at the
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in
Germany) and Catharina Josephina Leys. His father was a cabinetmaker. He had two older brothers (Jan Theodoor)
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Art graphique d'Ensor en confrontation: Musée des beaux arts d'Ostende, 19 septembre 1999-13 février 2000
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Throughout the 1850s Linnig continued to make submissions to the Salons in
Antwerp and Brussels.
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important documents on the shipping activities and wharves in and around
Antwerp at the time.
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in: 'Vlaanderen'. Jaargang 49. Christelijk Vlaams Kunstenaarsverbond, Tielt 2000. P. 199-204
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200:. During his studies at the Academy, Linnig made many works from life, particularly of the
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Vlaamse schilderkunst en de zee. Vlaamse schilderkunst in de achttiende en negentiende eeuw
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in the year before he died, which shows the bearded artist with hollowed out cheeks.
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In 1844, the year of his marriage, Linnig and his brother Willem spent some time in
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and occasional genre scenes. He was one of the first realist engravers in Belgium.
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symbol of the square and compass alongside his signature as he was a Freemason.
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483:, Oxford University Press, Print Publication Date: 2007, Published online: 2007
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Linnig's drawings were used by other engravers as the design of engravings and
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shipping companies and ship captains. An example of the latter category is
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A good example of Linnig's Romantic pursuit of effects can be seen in
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N. Hostyn, "LINNIG, Egide, marineschilder en scheepsportrettist", in
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painter, draughtsman and engraver who is best known for his
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on the 16th century shipping disasters of Dutch ships near
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The wintering of Barends and van Heemskerk on Nova Zembla
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The three-master 'Constant' off the coast of New Guinea
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The three-master 'Constant' off the coast of New Guinea
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Momentum: Antwerp's port in the 19th and 20th century
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100:Pieter-Josef Linnig and Catharina Josephina Leys.
477:Linnig, Egide (1821–1860) Belgian marine painter
253:" in the Netherlands with the following works:
341:Linnig was an important representative of the
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481:The Oxford Encyclopedia of Maritime History
143:as the son of Pieter-Josef Linnig (born in
123:(25 August 1821 – 13 October 1860) was a
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536:at Openbaar Kunstbezit Vlaanderen
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668:19th-century Belgian male artists
457:Nationaal biografisch woordenboek
51:United Kingdom of the Netherlands
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168:From 1834 Linnig studied at the
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317:Belgian merchant navy frigate
233:Shipwreck on the English coast
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658:19th-century Belgian painters
249:total of three times in the "
251:Exhibition of Living Masters
170:Antwerp Academy of Fine Arts
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284:off the coast of New Guinea
111:Shipwreck off a rocky coast
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174:Mattheus Ignatius van Bree
139:Egide Linnig was born in
673:19th-century printmakers
643:Belgian marine painters
570:, Pandora, 2002, p. 132
182:Hendrik Frans Schaefels
153:Willem Linnig the Elder
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261:(Rotterdam, 1848) and
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629:at Wikimedia Commons
533:Schilders van de zee
377:Museum aan de Stroom
213:Coast near Zierikzee
198:Henri Adolphe Schaep
178:François Lamorinière
648:Belgian printmakers
404:portrait of himself
273:(The Hague, 1851).
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63:(1860-10-13)
33:Egide Linnig
23:Egide Linnig
683:1860 deaths
678:1821 births
604:Vlaanderen
585:(in French)
411:lithographs
228:Mauritshuis
637:Categories
606:(in Dutch)
556:(in Dutch)
538:(in Dutch)
515:(in Dutch)
461:(in Dutch)
417:References
328:Nieuwpoort
226:. In the
129:marine art
87:Occupation
39:1821-08-25
282:Constant
224:The Hague
97:Parent(s)
77:Education
71:, Belgium
343:Romantic
332:Wenduine
319:Macassar
600:at the
510:at the
375:(1843,
347:Realist
336:Masonic
308:General
204:river.
202:Scheldt
141:Antwerp
125:Belgian
91:Painter
47:Antwerp
428:Cygnus
259:Storm
371:Soho
369:The
360:Soho
358:The
330:and
303:Work
211:and
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135:Life
58:Died
29:Born
119:or
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