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‘Painting is the most beautiful of lies.’ – Kees van Dongen 1918. La Casati by Kees Van Dongen Kees van Dongen was a Dutch born French Fauvist painter famous for his sensual, some…

‘Painting is the most beautiful of lies.’ – Kees van Dongen 1918. La Casati by Kees Van Dongen Kees van Dongen was a Dutch born French Fauvist painter famous for his sensual, some…

This work is set in the very heart of this exciting social scene, capturing a party in full flow. Van Dongen depicts a multitude of social interactions with people dancing, drinking and talking in a scene that is full of life and energy. The low viewpoint and the sheer breadth of the activity fully immerse the viewer in the event and helps to emphasise van Dongen’s position as an insider within this society. The vitality of the scene evidently appealed to van Dongen as this is one of two versions of the subject that he painted. [Sotheby’s, London - Oil on canvas, 54 x 65 cm]

ACCUEIL Présentation Contact CARNET DE VOYAGES CARNET Croatie Espagne France Italie Norvège Portugal Rép. Tchèque Suisse CULTURE ARTS ART NAIF Littérature Cinéma Musique JARDIN Potager Index Plantes Cavaliers, ... Parcs NOEL Boules Santon Foires santon...

Kees van Dongen, Tango of the Archangel, 1922 Kees van Dongen (1877-1968) was a somewhat cynical cuss, but with a sense of humor. He cut ...

‘Painting is the most beautiful of lies.’ – Kees van Dongen 1918. La Casati by Kees Van Dongen Kees van Dongen was a Dutch born French Fauvist painter famous for his sensual, some…

Kees Van Dongen 1877-1968 Women in shirt 1908

Leila, Kees van Dongen, ca. 1908-1910.

portrait of a woman i'm gonna to take a bit of a blogging break, see where these fall days lead me... i leave you with paintings by an artist whose work i adore, kees van dongen. if i had to choose one painter whose portraits of women i love best, it would be kees. (and i love his name! even though i have no idea how it's pronounced!) thank you to various folks on tumblr, where i saw many of these paintings for the first time, and a special thank you to beverley shiller for finding the video... most of these were painted between 1900 and 1910. the blue hat the lace hat woman and orange vendor woman with a cigarette woman with flowered hat woman with frill femme orientale dancers - revel and coco yellow boots young mother gisele * * * via nearlya XO

'The Cairo Bar', c. 1920 - Kees Van Dongen (1877–1968)

De tentoonstelling 'De grote ogen van Kees van Dongen' laat circa tachtig internationale topwerken zien van de befaamde schilder Kees van Dongen. Maar liefst zestig schilderijen en een selectie tekeningen, keramiek, affiches en fotomateriaal worden speciaal voor de tentoonstelling overgevlogen uit internationale topcollecties, van New York tot Monaco en van Genève tot Moskou. Op de tentoonstelling zijn schilderijen te zien die Van Dongen maakte tijdens een verblijf in Rotterdam in 1907, zoals het felgekleurde 'Modjesko'. Ook de schilderijen geïnspireerd door de Folies-Bergères en de meest ge-durfde Parijse werken, waaronder het naakt van zijn vrouw Guus, zijn te zien. Belangrijk zijn ook de stukken die hij schilderde naar aanleiding van zijn reizen naar Spanje, Marokko en Egypte. Deze experimentele en verleidelijke vrouwenportretten, met oriëntaalse invloeden, intensieve kleuren en decoratieve accenten, behoren tot zijn beste werken. 'De grote ogen van Kees van Dongen' is een unieke kans om alle topstukken van de schilder bijeen te zien. Rijk geïllustreerde catalogus bij de gelijknamige tentoonstelling. Gastconservator Anita Hopmans beschrijft in drie hoofdstukken de ontwikkeling die Van Dongen heeft doorgemaakt en zijn betekenis binnen de internationale moderne kunst in de eerste decennia van de vorige eeuw. Dit wordt geïllustreerd met biografisch beeldmateriaal, atelierfoto's, affiches en ansichtkaarten die Van Dongen naar familie en vrienden stuurde. In het catalogusoverzicht staan paginagrote afbeeldingen van alle tentoongestelde werken.

Cornelis Theodorus Maria van Dongen [1877-1968], usually known as Kees van Dongen or just Van Dongen, was a Dutch painter and one of the Fauves. He gained a reputation for his sensuous, at times garish, portraits. Kees van Dongen was born in Delfshaven, in the suburbs of Rotterdam. In 1892, at age 16, Kees van Dongen started his studies at the Royal Academy of Fine Arts in Rotterdam. During this period from 1892-1897, van Dongen frequented the Red Quarter seaport area, where he drew scenes of sailors and prostitutes.

Kees van Dongen in zijn atelier samen met modellen en gasten. Parijs, 1925. (bron: Geheugen van Nederland) Kees van Dongen: Trois femmes, 1909. Kees van Dongen: Mademoiselle Geneviève Vix dans le rôle de Salomé, 1920. Datum lijkt niet te kloppen met de datum van de foto. Ik weet niet welke de juiste is (hk). Kees van Dongen in 1929. (bron: Histolines) Kees van Dongen: Baigneuse en Deauville, 1920.

Kees van Dongen. Femme devant une porte, 1925.

“Van Dongen only paints under electric arcs. This blue light, unadulterated by golden rays, is cold and hard. It is the light of our pleasure grounds. It seems to be filtered through a sapphire-reflecting iceberg. It illuminates faces, it searches them, it explores them." [Sold for €265,500 at Sotheby’s, Paris - Oil on panel, 34.7 x 26.6 cm]

‘Painting is the most beautiful of lies.’ – Kees van Dongen 1918. La Casati by Kees Van Dongen Kees van Dongen was a Dutch born French Fauvist painter famous for his sensual, some…

Mademoiselle Geneviève Vix dans le rôle de Salomé (1920). Kees Van Dongen (Dutch, 1877-1968). Oil on canvas. New National Museum of Monaco. Vix (French, 1879-1939), after study at the Paris...

Portrait de Madeleine Grey à la rose - 1929 (©2014 ROUILLAC SAS SVV N°2002-189) Bien connu pour ses portraits de femmes, Kees van Dongen affirmait, quand on lui demandait la recette à suivre, avec son...

The bright, garish colors that set off this elegant Parisian women and her precious pet attest to Van Dongen's close association with Fauvism. His work often displays a whimsical sense of humor, seen here in the comical contrast between the women's flamboyantly oversized hat and the miniscule dog.

Fully clothed in an elegant evening dress, the alluring model is depicted in a seductive pose, her beauty accentuated by her hair, vibrant red lips and nails, and necklace and bracelet executed in dabs of paint applied directly from the tube. These attributes identify the sitter as a member of high society, although Van Dongen's primary interest lay in the feminine allure of her figure rather than in her individuality. [Sotheby’s, London - Oil on canvas, 81 x 130 cm]