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kees van dongen
woman in black hat
new20/kees van dongen-267687.jpg
mk247
1908,oil on canvas,39x32 in,100x81 cm,state hermitagge museum,st.petersburg,russia
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kees van dongen
fate
new22/kees van dongen-432492.jpg
mk289 1901 warercolor private collection
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kees van dongen
portrait of guus on a red ground
new22/kees van dongen-596453.jpg
mk289 1910 oil on canvas collection mlle D.A. van dongen paris
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kees van dongen
yellow boots
new22/kees van dongen-226346.jpg
mk289 1902 oil on canvas 130x97cm private collection
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kees van dongen
Ibe moulin de la galette
new22/kees van dongen-456223.jpg
mk289 1904 oil on canvas 55x46cm private collection
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kees van dongen
Iorso
new22/kees van dongen-776263.jpg
mk289 1905 oil on canvas 92x81cm private collection
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kees van dongen
guus and dolly motber and cbild
new22/kees van dongen-877983.jpg
mk289 1905 oil on canvas 73x92cm private collection
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kees van dongen
Ibe violin player
new22/kees van dongen-698855.jpg
mk289 1920 oil on canvas 81x60cm musee d art moderne liege
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kees van dongen
loulou
new22/kees van dongen-597743.jpg
mk289 1924-25 oil on canvas 56x47cm museum of fine arts st petersburg florida
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kees van dongen
vilande naken kvinna
new23/kees van dongen-736755.jpg
1904-1905
se
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kees van dongen
pa sadelplats
new23/kees van dongen-567476.jpg
se
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kees van dongen
soprano singer
new23/kees van dongen-663368.jpg
mk290 1905-07 39x32in museum of modern art new and mrs peter a rubel
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kees van dongen
kees van dongen,(1877 to 1968),French painter and printmaker of Dutch birth. He took evening classes in geometric drawing from 1892 to 1897 at the Akademie voor Beeldende Kunsten in Rotterdam. In 1895 he began working intermittently for the newspaper Rotterdamsche Nieuwsblad, for which he made, among other things, a series of bright watercolour drawings of Rotterdams red-light district and illustrations of Queen Wilhelminas coronation. Van Dongen first paintings used dark tones in imitation of Rembrandt, who remained the most important model for his work; his later book on Rembrandt was, in fact, a projection of his own life. By the mid-1890s he was using more vivid contrasts of black and white, for example in Spotted Chimera (1895; priv. col., see Chaumeil, pl. 1), his palette soon becoming brighter and his line more animated. In Le Muet Windmill (1896; priv. col., see Chaumeil, pl. 7), a red ochre monochrome painting, he successfully enlivened the colour by means of broad, energetic brushstrokes.
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