{"id":28136,"date":"2025-06-02T16:30:43","date_gmt":"2025-06-02T15:30:43","guid":{"rendered":"https:\/\/www.johncoulthart.com\/feuilleton\/?p=28136"},"modified":"2025-06-02T15:41:01","modified_gmt":"2025-06-02T14:41:01","slug":"the-art-of-martin-monnickendam-1874-1943","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2025\/06\/02\/the-art-of-martin-monnickendam-1874-1943\/","title":{"rendered":"The art of Martin Monnickendam, 1874\u20131943"},"content":{"rendered":"

\"monnickendam01.jpg\"<\/p>\n

Gevel van de Saint-Germain-l’Auxerrois.<\/em><\/p>\n

Martin Monnickendam was a Dutch artist whose work caught my attention not for his paintings but for this series of etchings showing views of the streets and older buildings of Paris. The Rijksmuseum<\/a> gives the series a date of 1896, when the artist was a mere 22 years of age but already working with a proficiency that makes me wish he’d done more in this style. Monnickendam’s subject and medium brings to mind Charles M\u00e9ryon’s celebrated etchings of Paris<\/a> but M\u00e9ryon’s depictions of Notre-Dame and elsewhere generally place the buildings at a distance. Monnickendam fills his plates with closer views of architectural detail, showing how good the etching medium can be in capturing Gothic crenellations. All of which is of particular interest to me now that I’m working again on The Dunwich Horror<\/em><\/a>. Lovecraft’s story doesn’t feature any specifically Gothic architecture but the detailed shading I’ve been doing is closer to etching than anything else.<\/p>\n

\"monnickendam02.jpg\"<\/p>\n

Gezicht op de Saint-Gervais.<\/em><\/p>\n

\"monnickendam03.jpg\"<\/p>\n

Impasse des Boeufs.<\/em><\/p>\n

\"monnickendam04.jpg\"<\/p>\n

March\u00e9 des Carmes.<\/em><\/p>\n

\"monnickendam05.jpg\"<\/p>\n

Notre-Dame van Moret-sur-Loing .<\/em><\/p>\n

<\/p>\n

\"monnickendam06.jpg\"<\/p>\n

Notre-Dame van Parijs.<\/em><\/p>\n

\"monnickendam07.jpg\"<\/p>\n

Passage Saint-Paul.<\/em><\/p>\n

\"monnickendam08.jpg\"<\/p>\n

Place des Vosges.<\/em><\/p>\n

\"monnickendam09.jpg\"<\/p>\n

Pont Neuf.<\/em><\/p>\n

\"monnickendam10.jpg\"<\/p>\n

Saint Nicolas du Chardonnet.<\/em><\/p>\n

\"monnickendam11.jpg\"<\/p>\n

Saint-\u00c9tienne-du-Mont.<\/em><\/p>\n

\"monnickendam12.jpg\"<\/p>\n

Straatgezicht met het H\u00f4tel de Sens.<\/em><\/p>\n

Elsewhere on { feuilleton }
\n\u2022 The etching and engraving archive<\/a><\/p>\n

Previously on { feuilleton }
\n\u2022 Marville\u2019s streets<\/a>
\n\u2022 Atget\u2019s corners<\/a>
\n\u2022 Charles M\u00e9ryon revisited<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Gevel van de Saint-Germain-l’Auxerrois. Martin Monnickendam was a Dutch artist whose work caught my attention not for his paintings but for this series of etchings showing views of the streets and older buildings of Paris. The Rijksmuseum gives the series a date of 1896, when the artist was a mere 22 years of age but … Continue reading “The art of Martin Monnickendam, 1874\u20131943”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"New blog post: The art of Martin Monnickendam, 1874\u20131943","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[8,2,51],"tags":[1860,14006],"class_list":["post-28136","post","type-post","status-publish","format-standard","hentry","category-architecture","category-art","category-cities","tag-charles-meryon","tag-martin-monnickendam"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-7jO","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/28136","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=28136"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/28136\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=28136"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=28136"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=28136"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}