Johan Barthold Jongkind  (Dutch, 1819-1891) 

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Johan Barthold Jongkind (Dutch, 1819–1891) was a prominent Dutch landscape painter referred to by Édouard Manet (French, 1832-1883) as “the father of the modern landscape.” Born in Lattrop, Jongkind spent the majority of his artistic career in France, where he was influential among the Impressionists with his radiant and shimmering depictions of the countryside. His first training took place with Andreas Schelfhout (Dutch, 1787-1870) in The Hague, before he moved to Montmartre in Paris where he received instruction from Louis Gabriel Eugène Isabey (French, 1803–1886). In 1848, he started exhibiting in the Paris Salons and his work was well received by the influential critics Charles Beaudelaire and Emile Zola. In 1862, Jongkind exhibited at the Salon des Refusés, where his works were lauded by Manet, Claude Monet (French, 1840–1926), and Henri Emilien Rousseau (French, 1875-1933) for their innovative treatment of atmospheric conditions. His work is part of the collection of the Musée d’Orsay, Paris, the National Gallery, London, The Stedelijk Museum, Amsterdam, the Louvre, Paris, The Metropolitan Museum of Art, New York, The Courtauld Institute of Art, London, The Art Institute of Chicago, and The Van Gogh Museum, Amsterdam.

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Johan Barthold Jongkind, Entrée du Port, Rotterdam

 

Johan Barthold Jongkind
Entrée du Port, Rotterdam
1871

Stoppenbach & Delestre
Johan Barthold Jongkind, Le Quai des Célestins

 

Johan Barthold Jongkind
Le Quai des Célestins
1869

Stoppenbach & Delestre
Johan Barthold Jongkind, Canal près de Rotterdam, Printemps

 

Johan Barthold Jongkind
Canal près de Rotterdam, Printemps
Stoppenbach & Delestre
Johan Barthold Jongkind, Sortie de port en Hollande

 

Johan Barthold Jongkind
Sortie de port en Hollande
1861

Stoppenbach & Delestre
Johan Barthold Jongkind, La Ferme

 

Johan Barthold Jongkind
La Ferme
1877

Stoppenbach & Delestre
Johan Barthold Jongkind, Mills in moonlight near Rotterdam

 

Johan Barthold Jongkind
Mills in moonlight near Rotterdam
1867

Kunsthandel Ivo Bouwman BV
Johan Barthold Jongkind, Bateaux en rade de Honfleur

 

Johan Barthold Jongkind
Bateaux en rade de Honfleur
1865

Stoppenbach & Delestre
Johan Barthold Jongkind, Phare à Honfleur

 

Johan Barthold Jongkind
Phare à Honfleur
circa 1864

Stoppenbach & Delestre
Johan Barthold Jongkind, Un brick à Honfleur

 

Johan Barthold Jongkind
Un brick à Honfleur
1863

Stoppenbach & Delestre
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Johan Barthold Jongkind, Moulins au Claire de Lune

 

Johan Barthold Jongkind
Moulins au Claire de Lune
oil on panel

 

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Johan Barthold Jongkind, Shipping in Harbour

 

Johan Barthold Jongkind
Shipping in Harbour, 1886
pencil and color pencil on paper

 

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Johan Barthold Jongkind, Les Patineurs

 

Johan Barthold Jongkind
Les Patineurs
India ink

 

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  Johan Barthold Jongkind is generally recognised as being one of the major forerunners of Impressionism. Although born in Holland he became a pupil of Eugene Isabey in Paris and his work was greatly admired by both Boudin and Monet for the freshness of his palette and freedom of brushwork.

  A frequent visitor to the Normandy coast, Jongkind found his paintings of this area formed the foundation for the most successful period of his career. He visited Honfleur for the third time in the summer of 1865 staying at Isabey’s farm at Sainte Adresse. In a letter written in August that year Jongkind described his visit to Honfleur: ‘Eight days ago I left Paris and here I am at Honfleur, the place to which I return, as always, with new pleasure. It is a little seaport where there are ten or twenty ships of all nations; not counting the fishing vessels of the same nations. I tell you that this is very interesting for my studies’ (Moreau-Nélaton, Jogngkind, raconté par lui-même 1918, p 88).
  Jongkind is generally recognised as being one of the major forerunners of Impressionism, having first studied under Andreas Schelfhout in The Hague and then with Isabey and Picot in Paris, to whom he owes much of his style.
  Early success at the Salon was soon marred by Jongkind's acute nervous disposition and the constant need to seek diversion in Parisian nightlife. Isabey attempted to protect him from this life of dissipation and ruin by taking him to Normandy in the summers of 1850 and 1851. Increasingly Jongkind sought relief from his mental condition by turning to painting views of Dutch canals and night scenes, which combined with a failure to receive any recognition at the 1855 Exposition Universelle, led to his return to Holland.
  The hoped for improvement in Jongkind's mental and physical condition failed to materialise whilst in Holland, resulting in his friends and the dealer Pierre (Pere) Martin raising money for a return to Paris in 1869 thought the sale of his paintings. Stability was finally brought to Jongkind's life by the Dutch drawing teacher Josephine Fesser who was to remain his constant companion for the next thirty years.
  Jongkind's work was greatly admired by Boudin and Monet, whom he met at Le Havre in 1862,