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Lot Essay
Johann Bernhard Klombeck is the most well known of the large group of students of the master of the genre, Barend Cornelis Koekkoek (1803-1862). Johann Bernhard was born in Germany on 1st July, 1815 and raised in the dukedom of KLeve, which is close to the border of Nijmegen. His father was the tailor Heinrich Klombeck (1873-1866) and his mother was Marianne Tinthoff (1777-1850) who was the half sister of the painter Matthais Tinthoff (1794-1881). Matthais specialised in portraiture and genre scenes and it was he who gave Johann Klombeck his first art training. When Koekkoek founded his Academy in Kleve in 1841, Klombeck and his uncle were among the first members to follow his lessons.
This was to have a most profound and lasting influence on Klombeck who came to be regarded as one of Koekkoeks finest pupils. Klombeck exhibited his landscapes at the Kleve Academy and also in Nijmagen.
Between 1843 and 1856 he was a frequent participant in international salons, including Amsterdam, Rotterdam, The Hague, Dresden and Berlin.
Klombeck became a leading member of the Romantic Scool and he was the foremost representative of the Kleve Academy when Koekkoek died in 1862. Romantic motifs such as prominent trees and ruins, stormy weather and figures fighting against the elements, played an important part in Klombecks oeuvre. Compositions with diagonal elements, such as tracks and streams disappearing into the background, are features strongly reminiscent of the works of Koekkoek and which Klombeck often featured in his paintings.
In 1865 Klombeck was given an honorary post at the Craftsmans School in Kleve and he continued to exhibit until 1882. The artist died in Kleve on 28th November, 1893.
Inspired by the present lot the German poet Friedrich Konrad Müller, (1823-1881) wrote the following poem, under his pseudonym Müller von der Werra:
Am Horizont türmen sich
Viel schwarze Wolken auf,
Der Sturmwind peitscht sie fürchterlich,
Und rasend geht's im Lauf.
Und bald erscheint der Himmel ganz
Gehült in schwarze Nacht.
Des Lichtes letzter Strahlenglanz
Verdunkelt Sturmesnacht.
Es heult und pfeift und schrillt der Wind,
Es saust und braust der Wald;
Viel Bäume schon geborsten sind
Von des Orkans Gewalt.
Der Waldbach tobt und stürtz und schäumt
Jäh, über Felsgestein,
Als hätt' er längstens schon versdumt
An seinem Ziel zu sein.
Der Wanderer aber schreitet still
Auf seinen Wegen fort,
Mag's wettern um ihn wie es will,
Er spricht kein grollend Wort.
Er denkt, so lang ein Fels noch steht,
Dem Wetter wie zum Spott,
So lange lebt, wohin ihr seht,
Auch noch der alte Gott!
This was to have a most profound and lasting influence on Klombeck who came to be regarded as one of Koekkoeks finest pupils. Klombeck exhibited his landscapes at the Kleve Academy and also in Nijmagen.
Between 1843 and 1856 he was a frequent participant in international salons, including Amsterdam, Rotterdam, The Hague, Dresden and Berlin.
Klombeck became a leading member of the Romantic Scool and he was the foremost representative of the Kleve Academy when Koekkoek died in 1862. Romantic motifs such as prominent trees and ruins, stormy weather and figures fighting against the elements, played an important part in Klombecks oeuvre. Compositions with diagonal elements, such as tracks and streams disappearing into the background, are features strongly reminiscent of the works of Koekkoek and which Klombeck often featured in his paintings.
In 1865 Klombeck was given an honorary post at the Craftsmans School in Kleve and he continued to exhibit until 1882. The artist died in Kleve on 28th November, 1893.
Inspired by the present lot the German poet Friedrich Konrad Müller, (1823-1881) wrote the following poem, under his pseudonym Müller von der Werra:
Am Horizont türmen sich
Viel schwarze Wolken auf,
Der Sturmwind peitscht sie fürchterlich,
Und rasend geht's im Lauf.
Und bald erscheint der Himmel ganz
Gehült in schwarze Nacht.
Des Lichtes letzter Strahlenglanz
Verdunkelt Sturmesnacht.
Es heult und pfeift und schrillt der Wind,
Es saust und braust der Wald;
Viel Bäume schon geborsten sind
Von des Orkans Gewalt.
Der Waldbach tobt und stürtz und schäumt
Jäh, über Felsgestein,
Als hätt' er längstens schon versdumt
An seinem Ziel zu sein.
Der Wanderer aber schreitet still
Auf seinen Wegen fort,
Mag's wettern um ihn wie es will,
Er spricht kein grollend Wort.
Er denkt, so lang ein Fels noch steht,
Dem Wetter wie zum Spott,
So lange lebt, wohin ihr seht,
Auch noch der alte Gott!