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Marquesa de Pontejos Madonna with the Child Reading dfg Olympus-The Fall of the Giants Interior with soldiers and a woman playi Details of The Conjurer Atalanta and Hippomenes Rocky Landscape with Antique Ruins Saint Cecilia and the Angel -detail- af Daughter of Revolution mirror pocket Nondalton Willem Coenraetsz Coymans Rose and China The Governess-she Sees no Kind Domestic Portrait of Count Baldassare Castiglione The Painting on the fireplace Cross,with Depiction of the Crucifixiom The Lie William Blake Richmond Interior of Saint Peter-s Red Bust -39- Ulysses and the Sirens -41- Port Morrilton The Last Judgment The Raising of Lazarus If Skulls Could Speak The Rialto Bridge in Venice -detail- ag ipping of the Golden Calf Dirge Still-life with Dog sfgg Building ot Castle Khawarnaq,wherein the we are Orchard in Blosson -nn04- Juan Vicente Masip Assumption of the Virgin AMMANATI, Bartolomeo San Gabriel Mission Edward Atkinson Hornel Robert,Comte de montesquiouiou-Fezensac
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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