Vue du Port au Chemin de Fer à Honfleur (View of the Port from the Railroad of Honfleur)
| Reference: | S42107 |
| Author | Johan Barthold Jongkind |
| Year: | 1866 |
| Measures: | 345 x 280 mm |
€425.00
| Reference: | S42107 |
| Author | Johan Barthold Jongkind |
| Year: | 1866 |
| Measures: | 345 x 280 mm |
€425.00
Description
Etching, signed and dated "1866" on the plate and again at lower left.
Example printed by Auguste Delâtre and published by Cadart and Luquet, for the 5th issue of "La Société des aquafortistes" in February 1867. Second state of two.
Beautiful impression on contemporary laid paper, with margins in excellent condition.
Between 1860 and the end of the 19th century, many painters, such as the Impressionists, experimented innovatively with traditional printing techniques. Whether etching or lithography, freedom of line, textural effects, and unfinished typeface generally characterized these graphic works. The painter Félix Bracquemond (1833-1868) was one of the initiators of this new interest in printing among painters. In 1862 he founded the Société des Aquafortistes in Paris with the printer Alphonse Cadart (1828-1875).
Johan Barthold Jongkind was born in Lattrop, a Dutch village in the municipality of Dinkelland, near the German border. His art was influenced by the Flemish landscape tradition, in particular the work of Rembrandt was a constant presence in all his works. He made long trips to France; the wild nature of Normandy fascinated him so much that he returned there several times, until 1865. It was in these years that he met Claude Monet, Edouard Manet and Eugène Boudin - with whom he had long discussions about art that influenced their subsequent artistic experiences - and Charles Baudelaire, who admired the poetry of his views. The paintings of this period are characterized by freshness and liveliness: Johan Barthold Jongkind, careful observer of nature, uses vigorous and precise brushstrokes, to render with extraordinary skill the luminosity of the waves of the sea and the clouds in the sky.
Bibliografia
John Sillevis, Johan Barthold Jongkind, Zwolle, 2003, cat.no.172; V. Hefting, Jongkind: sa vie, son œuvre, son époque, Paris, 1975; Delteil, Le Peintre-Graveur Illustré (XIXe et XXe siècles), n. 13.II; Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes, n. 12.
Johan Barthold Jongkind (Lattrop, 3 giugno 1819 – La Côte-Saint-André, 9 febbraio 1891)
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han Barthold Jongkind (3 June 1819 – 9 February 1891) was a Dutch painter and printmaker. He painted marine landscapes in a free manner and is regarded as a forerunner of Impressionism.
Jongkind was born in the town of Lattrop in the Overijssel province of the Netherlands near the border with Germany. Trained at the art academy in The Hague under Andreas Schelfhout, in 1846 he moved to Montparnasse in Paris, France where he studied under Eugène Isabey and François-Édouard Picot. Two years later, the Paris Salon accepted his work for its exhibition, and he received acclaim from critic Charles Baudelaire and later on from Émile Zola. He was to experience little success, however, and he suffered bouts of depression complicated by alcoholism.
Jongkind returned to live in Rotterdam in 1855, and remained there until 1860. Back in Paris, in 1861 he rented a studio on the rue de Chevreuse in Montparnasse where some of his paintings began to show glimpses of the Impressionist style to come. In 1862 he met in Normandy, in the famous ferme Saint-Siméon in Honfleur, with some of his artist friends, such as Alfred Sisley, Eugène Boudin, and the young Claude Monet, to all of whom Jongkind served as a mentor. Monet later referred to him as "...a quiet man with such a talent that is beyond words"[citation needed] and credited the "definitive education" of his own eye to Jongkind. In 1863 Jongkind exhibited at the first Salon des Refusés. He was invited to participate in the first exhibition of the Impressionist group in 1874, but he declined.
In 1878, Jongkind and his companion Joséphine Fesser moved to live in the small town of La Côte-Saint-André near Grenoble in the Isère département in the southeast of France. He died in 1891 in Saint-Égrève, in the same département. He is buried in the cemetery of La Côte-Saint-André. Streets are named after him in some Dutch town quarters dedicated to 19th- and 20th-century Dutch painters in e.g. Overtoomse Veld-Noord, Amsterdam, and De Vijfhoek, Deventer.
On 2 June 2019, a statue of Jongkind made by Dutch sculptor Rob Houdijk was revealed in the Duifpolder between Maassluis and Vlaardingen alongside the Vlaardingertrekvaart canal, on the occasion of the 200th anniversary of his birth. At this spot, Jongkind must have made preparatory sketches of the Rechthuis van Zouteveen for one of his later etching ‘Les deux barques à voile’ from 1862.
Jongkind's most frequent subject was the marine landscape, which he painted both in the Netherlands and in France. Many of his works depict the Seine, particularly the area near Notre-Dame Cathedral. He painted watercolors out-of-doors, and used them as sketches for oil paintings made in his studio. His paintings are characterized by vigorous brushwork and strong contrasts. Like the 17th-century Dutch landscape painters of the Golden Age of Dutch painting, he typically composed his landscapes with a low horizon, allowing the sky to dominate.
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Johan Barthold Jongkind (Lattrop, 3 giugno 1819 – La Côte-Saint-André, 9 febbraio 1891)
|
han Barthold Jongkind (3 June 1819 – 9 February 1891) was a Dutch painter and printmaker. He painted marine landscapes in a free manner and is regarded as a forerunner of Impressionism.
Jongkind was born in the town of Lattrop in the Overijssel province of the Netherlands near the border with Germany. Trained at the art academy in The Hague under Andreas Schelfhout, in 1846 he moved to Montparnasse in Paris, France where he studied under Eugène Isabey and François-Édouard Picot. Two years later, the Paris Salon accepted his work for its exhibition, and he received acclaim from critic Charles Baudelaire and later on from Émile Zola. He was to experience little success, however, and he suffered bouts of depression complicated by alcoholism.
Jongkind returned to live in Rotterdam in 1855, and remained there until 1860. Back in Paris, in 1861 he rented a studio on the rue de Chevreuse in Montparnasse where some of his paintings began to show glimpses of the Impressionist style to come. In 1862 he met in Normandy, in the famous ferme Saint-Siméon in Honfleur, with some of his artist friends, such as Alfred Sisley, Eugène Boudin, and the young Claude Monet, to all of whom Jongkind served as a mentor. Monet later referred to him as "...a quiet man with such a talent that is beyond words"[citation needed] and credited the "definitive education" of his own eye to Jongkind. In 1863 Jongkind exhibited at the first Salon des Refusés. He was invited to participate in the first exhibition of the Impressionist group in 1874, but he declined.
In 1878, Jongkind and his companion Joséphine Fesser moved to live in the small town of La Côte-Saint-André near Grenoble in the Isère département in the southeast of France. He died in 1891 in Saint-Égrève, in the same département. He is buried in the cemetery of La Côte-Saint-André. Streets are named after him in some Dutch town quarters dedicated to 19th- and 20th-century Dutch painters in e.g. Overtoomse Veld-Noord, Amsterdam, and De Vijfhoek, Deventer.
On 2 June 2019, a statue of Jongkind made by Dutch sculptor Rob Houdijk was revealed in the Duifpolder between Maassluis and Vlaardingen alongside the Vlaardingertrekvaart canal, on the occasion of the 200th anniversary of his birth. At this spot, Jongkind must have made preparatory sketches of the Rechthuis van Zouteveen for one of his later etching ‘Les deux barques à voile’ from 1862.
Jongkind's most frequent subject was the marine landscape, which he painted both in the Netherlands and in France. Many of his works depict the Seine, particularly the area near Notre-Dame Cathedral. He painted watercolors out-of-doors, and used them as sketches for oil paintings made in his studio. His paintings are characterized by vigorous brushwork and strong contrasts. Like the 17th-century Dutch landscape painters of the Golden Age of Dutch painting, he typically composed his landscapes with a low horizon, allowing the sky to dominate.
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