International studio (36.1908/1909(1909))

THE STUDiO

J

OHANN BARTHOLD JONG-
KIND. BY HENRI FRANTZ.

CASES such as that of Johann Barthotd
Jongkind, who iived and produced and died aimost
unknown and unappreciated, are not unique in the
history of painting in the nineteenth century, but
it would be hard to 6nd a master so great and
nowadays so generahy esteemed whose existence
was spent in deeper obscurity. Other painters
certainiy, iike Monticelii (worthiiy honoured in
this year's Salon d'Automne), Hervier, Lepine, and
Sisiey, were not properiy understood and esteemed
tili after their death; and this is not whoiiy un-
inteiiigibie in the case of these men, who, breaking
away from the formuias and the of the
past, astounded public and aiike by their
new-fangied methods. But that Jongkind, with

his simple, ciassicai taient, the direct descendant of
Van der Veide and Van der Neer, should through-
out his life have been rejected at the Salon, or
hidden away in the worst piaces, aione but for
some chance artist or private friend, who shouid
save him from starvation—this is a thing which
redects no honour either on the great public, on
the coliectors, or on the critics.
Information about this artist is scarce and hard
to 6nd. A few enthusiastic words dropped in the
of Baudeiaire and Theophiie Gautier furnish
one with the fact that Jongkind exhibited in such
and such a year, which is something, but that is ali
we can learn. One writer aione wouid seem to
have known Jongkind personahy and intimateiy;
that is M. de Fourcaud, the highly-distinguished
art critic who hits so briiliantly the " chaire de
Taine" at the Tcole des Beaux-Arts; and the


"VUE DE HOLEANDE" (OtL PAINTrNG) BY J. B. JONGKIND
XXXVI. Nj. 141.—NOVEMBER, 1908.

3