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拍品專文
As a student in Isabey's studio, Jongkind met and worked in the valuable company of Theodore Rousseau, Pils, Couture, Michel and Boudin and later on at the suggestion of Troyon he even entered the studio of Picot to study the human figure. Almost immediately following his move to the Normandy coast he befriended the art dealer Pierre-Firmin Martin together with whom they formed the Cercle Mogador, which included famous artists such as Corot, Millet, Rousseau, Troyon, Cals, Diaz, Daubigny, Bonvin, Jacque and Ziem. In fact Martin's support of the pre-Impressionists can be compared to Durand-Ruel's championship of the Impressionists. From 1850's onward, Jongkind's successes at the Salon was erratic, his financial situation was often troubled thus intensifying his addiction to alcohol and withdrawing him from the public as well as his friends frequently.
Jongkind first met Monet in 1862, who by then already knew of Jongkind's reputation and admired him greatly. During an interview recorded in 1900 Monet comments on Jongkind's notable artistic achievements: "His painting was too new and in far too artistic a strain to be then, in 1862, appreciated at its true worth. Neither was there ever anyone so modest and retiring. He was a simple good-hearted man, murdering French atrociously, and timid. That day he was very talkative. He asked to see my sketches, invited me to come and work with him, explained to me the why and the wherefore of his manner and thereby completed the teachings that I had already received from Boudin. From that time on he was my real master, and it was to him that I owed the final education of my eye" (C. Monet, "The Artist as a Young Man," Art News Annual, vol. XXVI, 1957, p. 198 - translated from Thiébault-Sisson, "Claude Monet, an Interview," Le Temps, 27 Nov. 1900).
Jongkind first met Monet in 1862, who by then already knew of Jongkind's reputation and admired him greatly. During an interview recorded in 1900 Monet comments on Jongkind's notable artistic achievements: "His painting was too new and in far too artistic a strain to be then, in 1862, appreciated at its true worth. Neither was there ever anyone so modest and retiring. He was a simple good-hearted man, murdering French atrociously, and timid. That day he was very talkative. He asked to see my sketches, invited me to come and work with him, explained to me the why and the wherefore of his manner and thereby completed the teachings that I had already received from Boudin. From that time on he was my real master, and it was to him that I owed the final education of my eye" (C. Monet, "The Artist as a Young Man," Art News Annual, vol. XXVI, 1957, p. 198 - translated from Thiébault-Sisson, "Claude Monet, an Interview," Le Temps, 27 Nov. 1900).