Gustave Léonard de Jonghe, Gustave Léonard De Jonghe or Gustave de Jonghe (4 February 1829 – 28 January 1893) was a Flemish/ Belgian painter known for his glamorous society portraits and genre scenes. After training in Brussels, he started out as a painter of historical and religious subjects in a Realist style. After moving to Paris where he spent most of his active career, he became successful with his scenes of glamorous women in richly decorated interiors.
Life
Gustave Léonard de Jonghe was born in Kortrijk as the son of the prominent landscape painter Jan Baptiste de Jonghe.
He received his first art lessons from his father. He continued his studies in Brussels at the Académie Royale des Beaux-Arts where leading Belgian painter François-Joseph Navez was one of his teachers.
The history painter Louis Gallait was his close friend and mentor. When de Jonghe’s father died when he was only 15 years old, his native city granted him a scholarship.
From 1848 onwards, de Jonghe participated in the exhibitions of the Brussels Salon. De Jonghe emigrated to Paris and began to exhibit at the Paris Salons in the 1850s.
He became a popular painter of elegant women and group portraits of the bourgeoisie.
He usually preferred interior settings, in which he represented several fashionable details of the period.
In the 1870s, the artist repeatedly shuttled between Paris and Brussels.
The onset of blindness in 1882 following a cerebral haemorrhage ended his artistic career and he returned to Brussels.
Leading Belgian and French artists in Paris organized a charity art sale to support the ailing artist and his family.
De Jonghe died in 1893 in Antwerp where he had resided since 1884.
De Jonghe was twice awarded a medal for his work: he received in 1862 a first-class medal in Amsterdam and in 1863 a third-class medal at the Paris Salon.
In 1864, Belgian King Leopold I honoured him with the Order of Leopold.
Work
Gustave de Jonghe's early works explored historical and religious subject matter such as his composition Pilgrims Praying to Our Lady of the Afflicted or Our Lady of Mercy of 1854 (Royal Museums of Fine Arts of Belgium).
Gustave Léonard de Jonghe | Pilgrims Praying to Our Lady of the Afflicted or Our Lady of Mercy | Royal Museums of Fine Arts of Belgium
This large canvas was presented at the Brussels Salon of 1854 and was at the time regarded as an important flag of revolt against the old classics, romantics and academics in Belgian art.
The work was considered by artists of that time as a manifesto for the liberation of art as well as the beginning of Realism in Belgian art. It was also noted that this work showed similarities with the work of the French Social Realist painter Charles de Groux who worked in Brussels.
Subsequently de Jonghe left the course of Realism and changed his subject matter to portraits and genre scenes and the occasional landscape. He worked in oil as well as watercolour. While some of his works are found in international museums such as the Hermitage and the Musée d'Orsay, most of his work is held in private collections.
His portrait paintings depict the lifestyle of the contemporary, fashionable city dwellers. This was a fashion started by Belgian painter Alfred Stevens in the late 1850s and then followed by another Belgian painter Charles Baugniet, the Frenchman Auguste Toulmouche and de Jonghe himself.
By the late 1860s there was a ready market for genre scenes with bourgeois figures, usually young glamorous women, in luxurious surroundings.
With the onset of the Belle Epoque in the 1870s, this type of painting depicting fashionable women set in an interior became popular at the Paris Salon.
Gustave de Jonghe painted many scenes of mothers with their children (usually a daughter) in intimate settings. Through the choice of pose, clothing and setting de Jonghe characterized the type of person represented. The title of his paintings often hinted at the narrative of the picture, such as Going to the ball. His pictures aimed to evoke the quiet joys of family life among the prosperous bourgeoisie.
His work reflects contemporary tastes in art such as the Japonism craze of the latter half of the 19th century with its interest in Japanese art and artifacts. His composition The Japanese Fan (original title: L’admiratrice du Japon) depicts a young woman walking in front of a Japanese screen, surrounded by other Japanese objects and catalogues of Japanese pictures.
Gustave de Jonghe also painted some Orientalist compositions such as the Afternoon siesta (also called A reclining odalisque), which reflected the contemporary interest in the theme of the harem and the odalisque in Orientalism.
Although his work may now seem sentimental and too reflective of then prevailing tastes in the market, its lasting appeal was already recognized in his time as being the result of the sincerity and perfect taste of its execution. | Source: © Wikipedia
Painter and watercolourist, active in Kortrijk and Paris.
Born in Courtrai; Studied first with his father Jean Baptiste, then with F.-J. Navez and Louis Gallait in Brussels.
Awarded a bursary by Courtrai following the death of his father;
Exhibited at the Brussels Salon, 1848;
In Paris, 1855-1861;
Suffered blindness following a stroke, 1882, and moved back to Belgium; Lived in Antwerp, 1884 until death. | Source: © The British Museum
Gustave Léonard de Jonghe / Gustave Léonard De Jonghe o Gustave de Jonghe (4 febbraio 1829 - 28 gennaio 1893) è stato un pittore Fiammingo noto per i suoi affascinanti ritratti di società e scene di genere.
Dopo una formazione a Bruxelles, iniziò come pittore di soggetti storici e religiosi in stile realista.
Dopo essersi trasferito a Parigi, dove ha trascorso la maggior parte della sua carriera attiva, ha avuto successo con le sue scene di donne affascinanti in interni riccamente decorati.
Opera
I primi lavori di Gustave de Jonghe esploravano argomenti storici e religiosi come la sua composizione Pilgrims Praying to Our Lady of the Afflicted o Our Lady of Mercy del 1854 (Royal Museums of Fine Arts of Belgium).
Questa grande tela fu presentata al Salon di Bruxelles del 1854 ed all'epoca era considerata un'importante bandiera di rivolta contro i vecchi classici, romantici e accademici nell'arte belga.
Gustave Léonard de Jonghe | Pilgrims Praying to Our Lady of the Afflicted or Our Lady of Mercy | Royal Museums of Fine Arts of Belgium
L'opera era considerata dagli artisti dell'epoca come un manifesto per la liberazione dell'arte e l'inizio del realismo nell'arte belga. È stato anche notato che questo lavoro mostrava somiglianze con il lavoro del pittore realista sociale francese Charles de Groux che lavorò a Bruxelles.
Successivamente de Jonghe lasciò il corso di Realismo e cambiò i suoi soggetti in ritratti e scene di genere e occasionalmente paesaggio.
Ha lavorato sia ad olio che ad acquerello.
Mentre alcune delle sue opere si trovano in musei internazionali come l'Ermitage ed il Musée d'Orsay, la maggior parte delle sue opere è conservata in collezioni private.
I suoi ritratti raffigurano lo stile di vita degli abitanti delle città contemporanee e alla moda. Questa era una moda iniziata dal pittore belga Alfred Stevens alla fine degli anni Cinquanta dell'Ottocento e poi seguita da un altro pittore belga Charles Baugniet, dal francese Auguste Toulmouche e dallo stesso de Jonghe.
Verso la fine degli anni '60 dell'Ottocento c'era un mercato pronto per scene di genere con figure borghesi, di solito giovani donne affascinanti, in un ambiente lussuoso.
Con l'inizio della Belle Epoque negli anni '70 dell'Ottocento, questo tipo di dipinto raffigurante donne alla moda ambientate in un interno divenne popolare al Salon di Parigi. Gustave de Jonghe dipinse molte scene di madri con i loro figli (di solito una figlia) in ambienti intimi.
Attraverso la scelta della posa, dell'abbigliamento e dell'ambientazione de Jonghe ha caratterizzato il tipo di persona rappresentata. Il titolo dei suoi dipinti alludeva spesso alla narrativa del quadro, come Andare al ballo.
I suoi dipinti miravano a evocare le tranquille gioie della vita familiare tra la borghesia prospera.
Il suo lavoro riflette i gusti artistici contemporanei come la mania del giaponismo della seconda metà del 19° secolo con il suo interesse per l'arte e i manufatti giapponesi.
I suoi dipinti miravano a evocare le tranquille gioie della vita familiare tra la borghesia prospera.
La sua composizione The Japanese Fan (titolo originale: L'admiratrice du Japon) raffigura una giovane donna che cammina davanti a uno schermo giapponese, circondata da altri oggetti giapponesi e cataloghi di immagini giapponesi.
Gustave de Jonghe dipinse anche alcune composizioni orientaliste come la siesta pomeridiana (detta anche odalisca distesa), che rifletteva l'interesse contemporaneo per il tema dell'harem e dell'odalisca nell'orientalismo.
Sebbene il suo lavoro possa sembrare ora sentimentale e troppo riflettente dei gusti allora prevalenti nel mercato, il suo duraturo fascino era già riconosciuto ai suoi tempi come il risultato della sincerità e del perfetto gusto della sua esecuzione. | Fonte: © British Wikipedia
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