by Artist (61)
John Joseph Enneking
American, 1841–1916
John Joseph Enneking was most influenced in his painting style by study in Europe during the early 1870s. His work indicates an understanding and appreciation of the work of the Barbizon artists, most especially Charles-Francois Daubigny (1817-1878), as well as knowledge of the principles of Impressionism. In 1876, he settled near Boston, in Hyde Park, Massachusetts, where he built his reputation as a landscape painter.
Spring Landscape is an example of a composition for which he was best known: a view of a flowering orchard. Enneking's style varied considerably across his larger oeuvre (he is also known for Barbizon-inspired views of autumn foliage), but the painting of flowers sparked his use of brilliant color as well as the broken, freely improvised brushwork of the Impressionists.
Elizabeth Ives Hunter, "John Joseph Enneking," American Art Review, February 2006, pp. 96-98
American, 1841–1916
Spring Landscape
1913
Object Type:
Painting
Dimensions:
12 in. x 13 7/8 in. (30.48 cm x 35.24 cm)
Medium and Support:
Oil on canvas board
Accession Number:
2018.0010.0001
Credit Line:
Gift of Babette L. Wampold in memory of Charles H. Wampold
John Joseph Enneking was most influenced in his painting style by study in Europe during the early 1870s. His work indicates an understanding and appreciation of the work of the Barbizon artists, most especially Charles-Francois Daubigny (1817-1878), as well as knowledge of the principles of Impressionism. In 1876, he settled near Boston, in Hyde Park, Massachusetts, where he built his reputation as a landscape painter.
Spring Landscape is an example of a composition for which he was best known: a view of a flowering orchard. Enneking's style varied considerably across his larger oeuvre (he is also known for Barbizon-inspired views of autumn foliage), but the painting of flowers sparked his use of brilliant color as well as the broken, freely improvised brushwork of the Impressionists.
Elizabeth Ives Hunter, "John Joseph Enneking," American Art Review, February 2006, pp. 96-98
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