Norman Adams

In 1956 Norman and his wife Anna travelled to the Yorkshire Dales. They fell in love with the landscape and bought a small cottage in Horton-in-Ribblesdale. This cottage was to become their main residence and Norman’s studio for most of his working life.

For the first few years Norman taught in London during the winters, and spent the summers painting in Yorkshire. During these summers Norman would leave home early and walk up onto the moors. He would spend long days painting, and return in the evening. At the end of the summer of 1958 he referred to his summer in Yorkshire as being 'like a happy childhood'.

The gallery has a number of works both oil paintings and watercolours by Norman. 

Please scroll down this page to see a selection of Norman's watercolours of Yorkshire, Italy & Provence.



Norman Adams at Butts - Horton Yorkshire

Norman Adams in his studio at Butts - Horton North Yorkshire

Norman Adams (1927-2005)

The Yorkshire Dales 

When the Linton Court Gallery reopened in June 2010 after being closed for 7 years, the first exhibition was 
Norman Adams - Paintings of the Yorkshire Dales and Hebrides. The exhibition was opened by the novelist and poet Glyn Hughes a friend of Norman and Anna Adams.

“I am convinced that it was Yorkshire, the breadth of its uncluttered views, the clarity of its hill forms, the bird life and flowers, that cleansed his palette, his life, and his spiritual being.” 

Quote from Glyn Hughes - poet, novelist and dramatist.


Norman Adams and  watercolour painting

Norman Adams is acknowledged to be the foremost practitioner of watercolour of his generation. When he began, in the 1950’s, he was influenced by Turner, and also Emil Nolde, but he made something entirely his own of what he absorbed. His studies were made outside, in all weathers, in such places as Inishmore, Snowdonia, Sutherland and the Hebrides; Also near his home in the Yorkshire Dales, and, in the 1980’s, Provence and the French border with Spain. The studies from nature provided forms to be used in his studio oil paintings until his last decade when he made large watercolour compositions entirely from imagination as his earliest hero, William Blake, had done.

Anna Adams.


Norman Adams reflections on painting

 Whatever the medium I feel you've got to use it properly. I love the language of paint, the pure abstract aesthetics of the medium. My paintings exist in between abstract and representational. They have a visual symbolic language. I feel a painting should have a strong message; a painting has to say something. It is not permissible to say nothing.

Norman Adams

Below are a selection of images of watercolour and oil paintings by Norman.