The Towpath

Provenance

(Herz sale, Hôtel Drouot, Paris, 10 May 1907, no. 7). Robert-Esnault Pelterie [1881-1957], Geneva; Mrs. Robert Esnault-Pelterie, Paris; (sale, Sotheby's London, 1 July 1964, no. 77); bought by Stanley.[1] Paul Mellon [1907-1999], Upperville, Virginia, by 1966;[2] bequest 1999 to NGA, with life interest to Mrs. Mellon; life interest released [1] Buyers list insert in 1964 exhibition catalogue. [2] The painting was lent to a 1966 exhibition of the Mellon collection at the NGA.

The Towpath

Jongkind, Johan Barthold

1864

Accession Number

2006.128.22

Medium

oil on canvas

Dimensions

overall: 34.3 x 47 cm (13 1/2 x 18 1/2 in.) | framed: 50.8 x 63.18 x 7.94 cm (20 x 24 7/8 x 3 1/8 in.)

Classification

Painting

Museum

National Gallery of Art

Washington, D.C., United States

Credit Line

Collection of Mr. and Mrs. Paul Mellon

Tags

Painting Impressionist & Modern (1851–1900) Oil Painting Canvas Dutch Color: Green Color: Gray

Background & Context

Background Story

Jongkind was the Dutch-born painter whom the young Monet called 'my true master.' The Towpath, painted in 1864, shows exactly why. A flat Dutch-French riverside landscape — a towpath running alongside a canal, trees reflected in still water, a sky that fills two-thirds of the canvas — is rendered with a freshness and directness that strips away academic convention. The brushwork is loose, the light is particular, and the scene feels observed rather than composed.

Cultural Impact

Jongkind occupies a pivotal position in 19th-century art. Trained in the Dutch landscape tradition, he moved to Paris in the 1840s and became a bridge between Dutch naturalism and French Impressionism. Monet and Sisley sought him out in the 1860s specifically to learn from his handling of light and water. The Towpath demonstrates his method: painting rapid outdoor studies that capture the moment's truth rather than an idealized composition.

Why It Matters

Without Jongkind, Impressionism might have developed differently. His insistence on painting light as it actually appears — not as academic convention dictates — gave Monet a model for the revolution that was to come.