GENERAL DESCRIPTION
Johan Barthold Jongkind was known as a virtuoso watercolorist and landscape painter in both his native Holland and the region around Paris. Rouen is among his most accomplished and mature watercolors. If its inscription was made at the same moment as the drawing itself, it dates from the spring of 1864. It is more likely that the watercolor was retrieved from a sketchbook or from a large stack of works already completed by the artist and inscribed to its recipient, Jean Rousseau. The scene appears to show the waterfront during the summer months when the foliage was fully developed, and can plausibly be dated to mid 1863.
For his motif, Jongkind chose a spot on the towing path along the Seine River just north of Rouen. The principal inland port in France, Rouen was also a medieval ecclesiastical capital of great importance, and the spires of its famous cath edral rise from the central horizon of Jongkind’s landscape. Yet, despite the centrality of the spires, they are overwhelmed in scale and pictorial importance by the foreground and middle-ground trees and by the péniche à vapeur, or motorized barge, that plies the river, steaming to the port of Le Havre.
Adapted from
Brettell, Richard R., "Johan Barthold Jongkind, 'Rouen'," in Mind's Eye: Masterworks on Paper from David to Cézanne, eds. Olivier Meslay and William B. Jordan (Dallas Museum of Art; New Haven, NJ: Yale University Press, 2014) 122.
NOTES
Change the capitalization of the inscription to match the information published in Mind's Eye catalogue.
Added the exhibition and bibliographic information from Mind's Eye catalogue (and the research documents compiled by Martha MacLeod and Jasmine Shevell).
Entered the unframed dimensions as published in Mind's Eye.
Entered Gail Davitt's biography for Jongkind as a text entry.
Entered both the 1995 and 2014 Brettell essays as text entries in TMS. In the remarks for the 1995 text entry, I noted that the essays are almost identical apart from a single word change.
The text entry paired with this image on Amica/Daivd Rumsey is incorrect and comes from a different page of Brettell, 1995. I will email Jacqui to ask how this can be resolved.
I took the complete provenance entry from TMS, combined it with the information published in Mind's Eye, and reformatted it ro match current guidelines. Be aware that the provenance in TMS continues to show much more information than was published in Mind's Eye. This may be due to unresolved concerns regarding its ownership and restitution during and after WWII.
The following continues to appear as a text entry in Curatorial remarks. If the provenance research has resolved these problems, perhaps this information should be added to the TMS record?
"See provenance record. Further research needed to determine when the work was restituted to Jacques Lindon and how it came into the Reves’ collection. According to Records of the American commission for the Protection and Salvage of Artistic and Historical Monuments Commission, Jacques Lindon filed claims with Roberts Commission for his looted artworks to be returned (copy in object file). There is documentation up until the work was returned to France from the Central Collecting Point in Munich (copy in object file). However, there is no documentation on how the work was returned to Lindon after 1946."
Gorig database
Photograph of Johan Barthold Jongkind
248949139: UMO
DO I ADD THE OBJECT NUMBER TO THIS PICTION ASSET, OR ONLY CONNECT IT TO THE ARIST BIOGRAPHY?
Object number added to Piction.
This note was previously tagged #routed (and possibly !Routed_Feb15). I am removing those tags and replacing with #draft so that this note proceeds to GDocs for routing and is harvested to Brain. (EAS, 12/19/2016)
Catalogue essays specific to object
Artist/designers
Cultures
Geography
Produced- Rouen, Frnace
Depicted- Rouen, France
Process/materials
watercolor
charcoal
paper
Historical periods
Individuals
Subject terms
study
gift
barge
cathedral
River Seine
riverbanks
smoke
trees
one-point perspective
reflection
spire
horizon line
inscription
RELATED OBJECTS
PROVENANCE
From 1864: Jean Rousseau, acquired from the artist (either as gift or purchase), March 11, 1864
Until 1940: Alfred Lindenbaum (Abner Lindon) (d. 1948), Paris
1940: with Chase bank, Paris, held on behalf of the above for safekeeping
1940-1942: Einsatzstab Reichsleiter Rosenberg (ERR) of the National Socialist (Nazi) department, Jeu de Paume, Paris, no. Li 41, arrived December 10, 1940, confiscated from the above by Devisenschutzkommando (DSK)
1942-1945: Hermann Wilhelm Göring, Germany, no. RM1276, confiscated from the above November 25, 1942
1945-1946: Central Collecting Point, Munich, no. 7166, arrived August 6, 1945
After 1946: Jacques Lindon (Jakob Lindenbaum), claim no. F124C, possibly restituted from the above
1953-1985: Wendy (1916-2007) and Emery Reves (1904-1981), Villa La Pausa, Roquebrune, France [1]
From 1985: Dallas Museum of Art, gift from the above
[1] Emery Reves purchased this work in 1953 prior to marrying Wendy Reves in 1964.
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Apply to objects where number equals 1985.R.30
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General Description
Johan Barthold Jongkind was known as a virtuoso watercolorist and landscape painter in both his native Holland and the region around Paris. Rouen is among his most accomplished and mature watercolors. If its inscription was made at the same moment as the drawing itself, it dates from the spring of 1864. It is more likely that the watercolor was retrieved from a sketchbook or from a large stack of works already completed by the artist and inscribed to its recipient, Jean Rousseau. The scene appears to show the waterfront during the summer months when the foliage was fully developed, and can plausibly be dated to mid 1863.
For his motif, Jongkind chose a spot on the towing path along the Seine River just north of Rouen. The principal inland port in France, Rouen was also a medieval ecclesiastical capital of great importance, and the spires of its famous cath edral rise from the central horizon of Jongkind’s landscape. Yet, despite the centrality of the spires, they are overwhelmed in scale and pictorial importance by the foreground and middle-ground trees and by the péniche à vapeur, or motorized barge, that plies the river, steaming to the port of Le Havre.
Adapted from
Brettell, Richard R., "Johan Barthold Jongkind, 'Rouen'," in Mind's Eye: Masterworks on Paper from David to Cézanne, eds. Olivier Meslay and William B. Jordan (Dallas Museum of Art; New Haven, NJ: Yale University Press, 2014) 122.
Fun Facts
Archival Resources
Web Resources
Notes
Change the capitalization of the inscription to match the information published in Mind's Eye catalogue.
Added the exhibition and bibliographic information from Mind's Eye catalogue (and the research documents compiled by Martha MacLeod and Jasmine Shevell).
Entered the unframed dimensions as published in Mind's Eye.
Entered Gail Davitt's biography for Jongkind as a text entry.
Entered both the 1995 and 2014 Brettell essays as text entries in TMS. In the remarks for the 1995 text entry, I noted that the essays are almost identical apart from a single word change.
The text entry paired with this image on Amica/Daivd Rumsey is incorrect and comes from a different page of Brettell, 1995. I will email Jacqui to ask how this can be resolved.
I took the complete provenance entry from TMS, combined it with the information published in Mind's Eye, and reformatted it ro match current guidelines. Be aware that the provenance in TMS continues to show much more information than was published in Mind's Eye. This may be due to unresolved concerns regarding its ownership and restitution during and after WWII.
The following continues to appear as a text entry in Curatorial remarks. If the provenance research has resolved these problems, perhaps this information should be added to the TMS record?
"See provenance record. Further research needed to determine when the work was restituted to Jacques Lindon and how it came into the Reves’ collection. According to Records of the American commission for the Protection and Salvage of Artistic and Historical Monuments Commission, Jacques Lindon filed claims with Roberts Commission for his looted artworks to be returned (copy in object file). There is documentation up until the work was returned to France from the Central Collecting Point in Munich (copy in object file). However, there is no documentation on how the work was returned to Lindon after 1946."
Gorig database
Photograph of Johan Barthold Jongkind
248949139: UMO
DO I ADD THE OBJECT NUMBER TO THIS PICTION ASSET, OR ONLY CONNECT IT TO THE ARIST BIOGRAPHY?
Object number added to Piction.
This note was previously tagged #routed (and possibly !Routed_Feb15). I am removing those tags and replacing with #draft so that this note proceeds to GDocs for routing and is harvested to Brain. (EAS, 12/19/2016)
Catalogue essays specific to object
Artist/designers
Cultures
Geography
Produced- Rouen, Frnace
Depicted- Rouen, France
Process/materials
watercolor
charcoal
paper
Historical periods
Individuals
Subject terms
study
gift
barge
cathedral
River Seine
riverbanks
smoke
trees
one-point perspective
reflection
spire
horizon line
inscription
RELATED OBJECTS
PROVENANCE
From 1864: Jean Rousseau, acquired from the artist (either as gift or purchase), March 11, 1864
Until 1940: Alfred Lindenbaum (Abner Lindon) (d. 1948), Paris
1940: with Chase bank, Paris, held on behalf of the above for safekeeping
1940-1942: Einsatzstab Reichsleiter Rosenberg (ERR) of the National Socialist (Nazi) department, Jeu de Paume, Paris, no. Li 41, arrived December 10, 1940, confiscated from the above by Devisenschutzkommando (DSK)
1942-1945: Hermann Wilhelm Göring, Germany, no. RM1276, confiscated from the above November 25, 1942
1945-1946: Central Collecting Point, Munich, no. 7166, arrived August 6, 1945
After 1946: Jacques Lindon (Jakob Lindenbaum), claim no. F124C, possibly restituted from the above
1953-1985: Wendy (1916-2007) and Emery Reves (1904-1981), Villa La Pausa, Roquebrune, France [1]
From 1985: Dallas Museum of Art, gift from the above
[1] Emery Reves purchased this work in 1953 prior to marrying Wendy Reves in 1964.
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