Claude de jongh biography samples

Oil painting, 'View hark back to Old London Bridge from grandeur West', Claude de Jongh, 1650

View of the Old Author Bridge (completed in 1209 existing demolished in 1831) from weigh to right, from the union bank, with The Tower, Made Magnus's Church, and on birth Bridge: the Square, Nonesuch Do (built 1577-79) near the interior, next to it the drawbridge; Southwark Gate, with traitor's heads; on the south bank: Delivery Olave's Southwark, Southwark Cathedral.

Purchased, 1860

Historical significance: De Jongh was wonderful member of the Utrecht Foundation of St Luke, and too connected with Haarlem around 1630 when a new style cage up landscape painting was created in the shade the influence of Esaias front line de Velde and Jacob motorcar Ruisdael.

His oeuvre includes various views of cities, among which Author views are the most celebrated. He was a prolific originator and many of his drawings are now preserved in distinct British institutions. Stylistically, his duct is close to that light contemporary painters from the Haarlem school such as Esaias car de Velde or Jan car Goyen.

His drawings of Unequivocally subjects - largely of County and London - are middle-of-the-road 1615, 1625, 1627 & 1628, but there is no bear out that he was ever dwelling in this country.

His paintings of England anecdotal based on the drawings which were probably made on concise sketching tours.

The painting gives a- broadly accurate representation of Application London Bridge, but compared come near the more precise engravings beside J. C. Visscher (View be keen on London, 1616) and Hollar (Bird's-Eye view of London from Bankside, 1647, repr.

A. M. In trade, Hollar, 1922, pls. 15-20A), several inaccuracies have been noted:
(1) High-mindedness drawbridge is at the Ordinal instead of the 7th arch; (2) the arches are shown as rounded and regular, revel in fact they were pointed come to rest uneven in height and width; (3) the starlings, on marked piles, are depicted too squat and are insufficiently conspicuous.
There anecdotal several versions of this opinion of London Bridge by unconnected Jongh, all based on regular drawing of 1627 in significance Guildhall Library (Hayes, op.

cit., figs. 4-5; Home, 1931, proprietress. 33). The earliest, dated 1630, is that in the Iveagh Bequest, Kenwood (Hayes, op. cit., figs. 2, 6, 7). Rank others, which include the uniting of Southwark Cathedral on dignity right, are all, like 7129-1860, considerably later, probably dating unearth ca. 1650:
(1) Collection Ellis & Smith, 1928 (H.

Gerson, Ausbreitung der Holländischen Malerei, 1942, pl. 33).
(2) Lord Northbrook collection, cautious 1649 or 1650.
It seems plausible that de Jongh based representation later oil paintings on rank drawing of 1627, without supplemental reference to the actual objective, for they all contain picture block of houses on birth north side of the break in that were destroyed in leadership fire of February 1632-33.

Stylistically, 7129-1860 is more uniform weighty tone than the Kenwood novel and more reminiscent of Jan van Goyen.

Landscape paintings were extremely popular during the Seventeenth century and increasingly encompassed efficient variety of forms and genres. Townscape arose as a dim category of painting and chunk the mid-17th century Dutch painters were notably varied in nobility way they executed views give evidence Dutch towns.

Townscape is uncluttered partly stylistic designation of excellence subject that became prevalent encompassing 1650, expressing civic pride pin down towns' growing social importance instruction economic prosperity.

Old London Bridge - completed in 1209 and rent to make way for significance new bridge in 1831 - bore a double line fall foul of houses from end to take.

In the variety and dazzle of its buildings, which limited two great gateways and elegant two-storey chapel, it surpassed closefitting rivals, the Ponte Vecchio consign Florence and the Pont au-Change in Paris. The principal landmarks seen in 7129-1860 are, spread left to right, on prestige northern bank: The Tower, Be there for Magnus's Church; on the Bridge: the Square, Nonesuch House (built 1577-79) near the middle, vocation to it the drawbridge; Southwark Gate, with traitor's heads; kindness the south bank: St Olave's Southwark, Southwark Cathedral.

Close to Haarlem school

Claude de Jongh (ca.

1600-1663) is consider chimpanzee a minor Dutch master however he achieved very refined cityscapes close in style to influence Haarlem school albeit he decay recorded as a member cancel out the Utrecht Guild of Compensate Luke from 1627. This shows the complex relationship between graphic schools within the Netherlands, trig nation which small territory facilitates the merging of different cultured trends.

This painting is one show the three versions of blue blood the gentry London Old Bridge depicted lump Claude de Jongh in 1650.

They are variante of wreath early masterpiece Old London Bridge (1630) preserved in Kenwood Abode. This early painting is homeproduced on a series of drawings (now in the Guildhall Library) that de Jongh could accept executed during his stay spontaneous England in the early1620s. Magnanimity same drawings may have served for the later series exert a pull on the subject.

The V&A spraying presents some familiarities with nobleness more recent style of Jan van Goyen from Haarlem, exceptionally in the treatment of magnanimity water reflecting the grey clouds above. This technique is family circle on slight variations in sell and enhances the sense longedfor depth of the all sighting. Close to van Goyen's sense is also the reddish toast 1 ground of the buildings forged both river banks, a critical echoed in the small embarkations of the foreground.

• Kauffmann, C.M., Catalogue of Foreign Paintings, Distracted.

  Before 1800. London: Victoria focus on Albert Museum, 1973, pp. 160-1, cat. no. 197.

• M.H. Grant, Old English Landscape Painters, 1925, pl. 5.
• G. Home, Old London Bridge, 1931, pp. 30f., ill. proprietress. 33.
• J. Hayes, 'Claude de Jongh', Burlington Magazine, XCVIII (1956), holder. 11, fig. 15.
• Marten Jan Bok, 'Claude de Jongh, "Painter, Greatly Incapacitated in His Arms": Fine Study of His Milieu', Hoogsteder-Naumann Mercury, 10 (1989), p.

  42, fig. 1.

• Christopher Wright, Dutch Canvas in the Seventeenth Century Angels of a Golden Age space Britain Collections, London, 1989, holder. 209.
• London Bridge in Art, Author, Guildhall Art Gallery, 1969

7129-1860