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Lot Essay
It is no surprise that the Jongkind's oeuvre is dominated by water. The artist grew up around Maassluis and its many waterways and boats. The damp climate of the Low Countries inspired the artist. The ever changing clouds and fog covered landscape, the movement of ships and the changing of the seasons were a constant challenge and source of inspiration.
His first tutor, Andreas Schelfhout (1787-1870), took his students into the outdoors. Schelfhout himself never broke with the romantic tradition but did teach his students to discover the potential of every medium. It is because of him that Jongkind had a steady and self assured hand and always knew how to balance his colours and subject. His greatest contribution to Jongkind's career was the introduction to the French artist Eugene Isabey (1803-1886). The latter had asked him to select one of his most promising students so that he could offer him a place in his atelier. So in 1846, with a stipend from H.R.H. the Prince of Orange, later King William III, Jongkind joined Isabey in Paris and accompanied him to Normandy. The west coast of France would remain a source of inspiration to him for the rest of his life and he returned there many times. He exhibited at the Salon in 1848, and again in 1852, at which time he received a medal.
Between 1855 and 1860 the artist lived in Rotterdam and was said to have led a debauched life. His work didn't suffer noticeably and through the French art dealer Martin his work found its way back to Paris. Martin would be instrumental in bringing him back to France. He organized an auction and ninety artists contributed work to raise funds for the return of their friend. At first Jongkind was hesitant to go back and was afraid of bad reviews and the criticism that had driven him away the first time. Martin took him in at first and later he met his companion, Josephine Fresser. She took care of him, providing him with the ideal circumstances for a productive artistic career.
He chose his subjects on the banks of the Seine and in other picturesque old quarters of Paris, on the sea coast of Normandy and on the Dutch canals. Refused at the Salon of 1863, he joined the Salon des Refusés, and made the acquaintance of Claude Monet here. His rendering of fleeting effects of light and reflections made him a pioneer of Impressionism. Though his oil pictures were not painted directly from nature, and are carefully arranged compositions, his drawings and watercolours were done out of doors.
The present lot dates from 1870. The period between 1860 and 1875 is considered to be the most important period in the artist's creative life. In colour, texture and atmosphere it exudes every element of the artist's creative hand.
His first tutor, Andreas Schelfhout (1787-1870), took his students into the outdoors. Schelfhout himself never broke with the romantic tradition but did teach his students to discover the potential of every medium. It is because of him that Jongkind had a steady and self assured hand and always knew how to balance his colours and subject. His greatest contribution to Jongkind's career was the introduction to the French artist Eugene Isabey (1803-1886). The latter had asked him to select one of his most promising students so that he could offer him a place in his atelier. So in 1846, with a stipend from H.R.H. the Prince of Orange, later King William III, Jongkind joined Isabey in Paris and accompanied him to Normandy. The west coast of France would remain a source of inspiration to him for the rest of his life and he returned there many times. He exhibited at the Salon in 1848, and again in 1852, at which time he received a medal.
Between 1855 and 1860 the artist lived in Rotterdam and was said to have led a debauched life. His work didn't suffer noticeably and through the French art dealer Martin his work found its way back to Paris. Martin would be instrumental in bringing him back to France. He organized an auction and ninety artists contributed work to raise funds for the return of their friend. At first Jongkind was hesitant to go back and was afraid of bad reviews and the criticism that had driven him away the first time. Martin took him in at first and later he met his companion, Josephine Fresser. She took care of him, providing him with the ideal circumstances for a productive artistic career.
He chose his subjects on the banks of the Seine and in other picturesque old quarters of Paris, on the sea coast of Normandy and on the Dutch canals. Refused at the Salon of 1863, he joined the Salon des Refusés, and made the acquaintance of Claude Monet here. His rendering of fleeting effects of light and reflections made him a pioneer of Impressionism. Though his oil pictures were not painted directly from nature, and are carefully arranged compositions, his drawings and watercolours were done out of doors.
The present lot dates from 1870. The period between 1860 and 1875 is considered to be the most important period in the artist's creative life. In colour, texture and atmosphere it exudes every element of the artist's creative hand.