Linda Adato was born in England in 1942 and studied at Hornsey College of Art. She emigrated to the United States in 1962 and received her MA from University of California, Los Angeles. She is a member of the Society of American Graphic Artists where she served as treasurer from 1995 to 2002 and she teaches printmaking at the Silvermine School of Art in Connecticut.
Adato is a master of color intaglio. The subject matter of her prints varies from the architecture of New York City to the chambers and ancient ruins of Europe to her own backyard. Her work is distinctive for its delicate synthesis of composition, subtle use of color, classical elegance and her personal interpretation of the architecture in 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. She has been making color etchings for over twenty-five years and has mastered the "a la poupee" one plate method of color printing. 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.
Adato has exhibited her prints throughout the United States and abroad. She has received many awards including those from the National Academy of Design, the Society of American Graphic Artists, Boston Printmakers, The Print Club of Albany, Audubon Artists and Connecticut Graphic Arts Center. Her prints have been included in numerous exhibitions in the United States and Europe. Her work is in the permanent collections of the Corcoran Gallery of Art, British Museum, Portland Art Museum, Achenbach Foundation for Graphic Arts of the Fine Arts Museum of San Francisco and New York Public Library, among other institutions.
“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 so 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.”