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| Johan Barthold Jongkind | |
|---|---|
| Name | Johan Barthold Jongkind |
| Caption | Johan Barthold Jongkind, c. 1850s |
| Birth date | 3 June 1819 |
| Birth place | Lattrop, Netherlands |
| Death date | 9 February 1891 |
| Death place | La Côte-Saint-André, France |
| Nationality | Dutch |
| Occupation | Painter, lithographer |
Johan Barthold Jongkind was a Dutch painter and printmaker whose marine and landscape works anticipated Impressionism and influenced Claude Monet, Édouard Manet, Camille Pissarro, Gustave Courbet and other 19th‑century artists. Born in the Netherlands and active in Paris, he is noted for atmospheric studies of the Seine, Normandy, Hollandsche IJssel, and Le Havre harbors, as well as for contributions to en plein air practice and lithography.
Born in Lattrop near Hengelo, in the province of Overijssel, he was the son of a tax collector and a seamstress and grew up during the reign of William I of the Netherlands. Early schooling in Hengelo and Zwolle preceded a move to Rotterdam where he worked at the office of the Dutch East India Company‑era shipping agent while pursuing drawing studies influenced by Dutch marine painters such as Willem van de Velde the Younger and Aelbert Cuyp. He later enrolled at the Royal Academy of Fine Arts in The Hague and interacted with contemporaries studying at institutions tied to the Dutch art academies tradition.
Jongkind received formal instruction from Dutch artists and engravers connected to the Rijksakademie van beeldende kunsten circle and was exposed to prints by Rembrandt van Rijn, Jacob van Ruisdael, and Meindert Hobbema. A stipend allowed him to travel to Paris where he studied works in the collections of the Louvre Museum and observed marine painting traditions rooted in Hendrick Cornelisz Vroom and Jan van Goyen. In Paris he met members of the Barbizon School such as Jean-Baptiste-Camille Corot, Théodore Rousseau and Charles-François Daubigny, and he exchanged ideas with students at the École des Beaux-Arts and participants in the Paris Salon. Contacts with Eugène Delacroix, Honoré Daumier, and emerging Realists helped shape his emphasis on light and atmosphere.
After settling in Paris in the 1840s, Jongkind exhibited at the Paris Salon and produced lithographs for publishers including Goupil & Cie and worked with printmakers such as Charles Motte. He traveled between France and the Netherlands, painting river scenes of the Seine near Pontoise, harbor views at Le Havre, coastal studies of Trouville-sur-Mer and Dieppe, and Dutch river views along the Rhine and Scheldt. Major oil paintings and etchings—often titled as scenes of Notre-Dame de Paris, Île de la Cité, the Port of Rotterdam, and La Hève—were shown in exhibitions in Brussels, London at the Royal Academy of Arts, and in Amsterdam at the Pulchri Studio. Key works like studies of Le Havre and La Seine influenced works by Monet and were acquired by collectors associated with galleries such as Durand-Ruel.
Jongkind favored plein air practice, working outdoors alongside contemporaries in the Normandy and Seine regions, employing a palette that captured transient effects of sky and water and using loose brushwork that prefigured Impressionism. His lithographs and etchings drew on techniques refined by printmakers of the 19th century including Godefroy Engelmann and Jacques-Jean Barre. Typical subjects included maritime life, coastal shipping, harbour quays, riverboats, docks at Le Havre, windmills in Holland, the Flanders marshes, and urban views of Parisian bridges and quays. He explored atmospheric phenomena—dawn mists, stormy skies, sunset glows—echoing investigations by John Constable and J. M. W. Turner, while maintaining a Dutch sensibility akin to Hobbema and Cuyp.
During his lifetime Jongkind received mixed critical reception: praised by avant-garde figures such as Monet, Pissarro and critics like Théophile Gautier, but often ignored by conservative Salon juries and academic institutions such as the Académie des Beaux-Arts. His work was championed by dealers and collectors in the circles of Paul Durand-Ruel and later entered public collections including the Musée d'Orsay, Rijksmuseum, National Gallery, London, Museum of Fine Arts, Boston and regional French museums like the Musée des Beaux-Arts de Rouen. Posthumously his role as precursor to Impressionism was emphasized in retrospectives at institutions such as the Petit Palais and scholarly studies at universities including Université de Paris and Utrecht University. His influence extended to students and friends connected to groups in Le Havre and Puteaux.
Jongkind maintained close friendships with painters associated with Pontoise, Rouvray, and the Montmartre community and counted acquaintances among Monet, Berthe Morisot, Édouard Manet and Félix Bracquemond. Struggles with alcoholism and periodic financial difficulties led him to withdraw from the Parisian art market; he spent later years in the Dauphiné region near La Côte-Saint-André and was supported by patrons and former students. He died in 1891 and was commemorated with a state funeral in La Côte-Saint-André and posthumous exhibitions in Paris and Amsterdam, leaving a legacy celebrated in catalogues raisonnés, museum holdings, and academic research across institutions like the Bibliothèque nationale de France and the Rijksbureau voor Kunsthistorische Documentatie.
Category:1819 births Category:1891 deaths Category:Dutch painters Category:Impressionism precursors