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Essay / Research Paper Abstract
In three pages this paper provides biographical information on the painter and a historical overview on the times in which he lived, a discussion of Impressionist values and techniques, and an analysis of Jongkind’s 1852 painting, Notre Dame from the Quai de la Tournelle. Three sources are listed in the bibliography.
Page Count:
3 pages (~225 words per page)
File: TG15_TGjbjquai.rtf
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Unformatted sample text from the term paper:
greatest influences was a brilliant Dutch painter named Johan-Barthold Jongkind (1819-1891), whose paintings have been sadly forgotten by most of the contemporary population. Once upon a time, Jongkind was
the teacher and Monet was his pupil, and for years afterwards the man many call the father of Impressionism referred to the Dutchman as "his true master" (Johan Barthold Jongkind,
2008). Born in Lattrop, The Netherlands on June 3, 1819, Johan-Barthold Jongkind was the son of a tax collector and the eighth of ten children (Johan Barthold Jongkind, 2008).
He lived most of his childhood in west Rotterdam, and briefly worked as a junior notary clerk after leaving school before going to The Hague to study drawing following
his fathers death in 1836 (Johan Barthold Jongkind, 2008). Under the tutelage of Andreas Schelfhout, a Master in landscapes, Jongkinds earliest paintings featured the windmills and canals that
were common throughout The Netherlands. After arriving in France for the first time in 1846, Jongkind spent the next decade working in the studio of Eugene Isabey (Johan Barthold
Jongkind, 2008). It is in the Paris setting where the artist underwent an amazing transformation from Dutch landscape painter to French Impressionist visionary. The social and political history of
mid-nineteenth century France had an enormous impact upon the art that was produced during this period. Napoleon IIIs Second Empire, which lasted from 1852 to 1870, attempted to dictate
all aspects of society, including art (Impressionism, Modernity, and Tradition, 2008). Rather than respecting aesthetic imagination and bold innovation, Napoleon III instead focused upon featuring the artistic representations he
could control (Impressionism, Modernity, and Tradition, 2008). This "pompier" style was little more than sociopolitical propaganda that was devoid of creativity or insight (Impressionism, Modernity, and Tradition, 2008).
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