Dutch Impressionist Painter, 1819-1891 was a Dutch painter and printmaker regarded as a forerunner of Impressionism who influenced Claude Monet. 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, in 1846 he moved to the Montmartre quarter of Paris, France where he studied under Eugene Isabey and Francois-Edouard 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 Emile Zola. Jongkind 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 befriended the young Claude Monet who later referred to Jongkind as the "master." The following year Jongkind exhibited at the first Salon des Refus's. Despite several successes, in another of his down periods the Impressionist group did not accept his work for their first exhibition in 1874.  Related Paintings of Johan Barthold Jongkind :. | Binneshaven | Quai a Honfleur | Entrance to the Port of Honfleur (Windy Day) (nn02) | Rotterdam in the Moonlight | A pastoral landscape |
Related Artists:
PARENZANO, Bernardino
Italian painter, Paduan school (b. ca. 1450, Parenzo, d. ca. 1500, Vicenza).
MASTER of Female Half-length
Dutch painter (active 1530-1540)
Master of the Legend of St. Lucy
(fl. 1480-1510) was an unidentified Early Netherlandish painter who worked in Bruges, now a city in Belgium. His name comes from for an altarpiece in the church of Saint James in Bruges, which is dated 1480 and depicts three scenes from the life of Saint Lucy. Since then, twenty-five to thirty-five paintings have been attributed to the same hand. He may have trained Spanish students at his studio in Bruges. Many of them are characterized by views of the city of Bruges in the background, and can be dated according to the level of construction of its belfry. He may have trained with Dieric Bouts, and was certainly influenced by Bruges' greatest artist at the time, Hans Memling.