Autobedrijf Dongen Occasions
Schellekens Dongen Occasions
Occasions Dongeng
Occasions Dongen Lion Van Loon Lot Essay catalogue raisonn being prepared under the sponsorship of the Wildenstein Institute.
During the 1920s, les annes folles , Van Dongen declared, I passionately love the life of my time, so animated, so feverish. Ah! Life is even more beautiful than painting (quoted in W.E. Steadman and D. Sutton, Van Dongen , exh. cat., The University of Arizona Art Museum, 1971, p. 46). Van Dongen pursued his love of modern life in the cabarets, restaurants and salons of Paris, and in the seaside resorts where his upper-class clientele took their holidays. I love novelty, the unpublished, that which has not been made before ( ibid. ). He sought the patronage of the aristocracy and the nouveau riche, was a favorite guest in the salons of Paris, and hosted his own soires.
Van Dongen' s= social= affinities= and= connections= afforded= him= an= excellent= vantage= point= from= which= he= could= observe= and= chronicle= contemporary= glamour,= fashion= and= mores.= he= was= alert= to= all= the= subtleties= of= social= display= and= behavior= and= could= cast= a= sardonic= eye= on= his= subjects= when= he= chose= to= do= so.= yet= there= is= little= evidence= of= ambivalence= in= his= treatment= of= his= sitters--he= enjoyed= the= spectacle= and= moved= easily= within= this= world,= and= largely= identified= with= it.= his= view= of= those= fabled= years= between= the= wars= is= all= the= more= valuable= because= he= was= genuinely= a= participant= in= the= passing= parade.= he= did= not= seek= or= play= the= roles= of= the= detached= moralist= or= critic;= he= chose= instead= to= let= his= sitters= and= subjects= speak= for= this= lifestyle= and= themselves.= louis= chaumeil= called= van= dongen= le= roi= et= peintre= de= son= temps= (in= Van Dongen
Mercedes 200-500 200 D @ 1990 1e eigenaar / Nwe Dynamo / Nwe APK bij afl. / trekhaak / Zeer netjes! Eetcafe Janssen en Janssen, Dongen: See 65 unbiased reviews of Eetcafe Janssen en Janssen, rated 4 of 5 on Tripadvisor and ranked 1 of 12 restaurants in Dongen. , Geneva, 1967, p. 216).
Van Dongen was the most sought-after portrait painter of his day. Depictions of young women were his specialty. The more provocative display in clothing styles and the emphasis on heavy make-up that he had described in his garish paintings of demi-mondaines --dancers, artist's models and prostitutes--during the previous decade were now nearly universally chic and indeed de rigueur among the fashionable upper classes. While showing off a low dcolletage, the graceful curve of her neck and wrist, her full painted lips, blushing cheeks and long cascading golden brown curls, the sitter in the present painting maintained the wistful and expectant air of an ingnue.
If indeed the times had caught up in many ways with Van Dongen's earlier portrayals of the modern woman, then the techniques he had used to paint them were still current and useful. The typically Fauve use of green shadows, used to complement the pinkness of a woman's skin and the red of her lips and cheeks, is observable in this portrait. The young sitter is solemn and has a pensive air that dignifies her presence.
'
Jacques Chalom des Cordes will include this painting in his forthcoming Kees Van Dongen catalogue raisonn being prepared under the sponsorship of the Wildenstein Institute.
During the 1920s, les annes folles , Van Dongen declared, 'I passionately love the life of my time, so animated, so feverish. Ah! Life is even more beautiful than painting' (quoted in W.E. Steadman and D. Sutton, Van Dongen , exh. cat., The University of Arizona Art Museum, 1971, p. 46). Van Dongen pursued his love of modern life in the cabarets, restaurants and salons of Paris, and in the seaside resorts where his upper-class clientele took their holidays. 'I love novelty, the unpublished, that which has not been made before' ( ibid. ). He sought the patronage of the aristocracy and the nouveau riche, was a favorite guest in the salons of Paris, and hosted his own soires.
Van Dongen's social affinities and connections afforded him an excellent vantage point from which he could observe and chronicle contemporary glamour, fashion and mores. He was alert to all the subtleties of social display and behavior and could cast a sardonic eye on his subjects when he chose to do so. Yet there is little evidence of ambivalence in his treatment of his sitters--he enjoyed the spectacle and moved easily within this world, and largely identified with it. His view of those fabled years between the wars is all the more valuable because he was genuinely a participant in the passing parade. He did not seek or play the roles of the detached moralist or critic; he chose instead to let his sitters and subjects speak for this lifestyle and themselves. Louis Chaumeil called Van Dongen 'le roi et peintre de son temps' (in Van Dongen , Geneva, 1967, p. 216).
Van Dongen was the most sought-after portrait painter of his day. Depictions of young women were his specialty. The more provocative display in clothing styles and the emphasis on heavy make-up that he had described in his garish paintings of demi-mondaines --dancers, artist's models and prostitutes--during the previous decade were now nearly universally chic and indeed de rigueur among the fashionable upper classes. While showing off a low dcolletage, the graceful curve of her neck and wrist, her full painted lips, blushing cheeks and long cascading golden brown curls, the sitter in the present painting maintained the wistful and expectant air of an ingnue.
If indeed the times had caught up in many ways with Van Dongen's earlier portrayals of the modern woman, then the techniques he had used to paint them were still current and useful. The typically Fauve use of green shadows, used to complement the pinkness of a woman's skin and the red of her lips and cheeks, is observable in this portrait. The young sitter is solemn and has a pensive air that dignifies her presence.
A woman accused of murdering her ex-boyfriend by throwing acid over him wept as she told a court he abused her after they met on a HIV dating website.
Berlinah Wallace, 48, is charged with murdering Mark Van Dongen, 29, by leaving him with such catastrophic injuries that he asked for assistance in ending his life.
The fashion student allegedly hurled acid over Mr Van Dongen's face and body at her flat in Bristol in September 2015, and he died at a clinic in Belgium in January 2017.
Mr Van Dongen, who had a new girlfriend but was staying with Wallace, told police he woke at 3am to hear her laugh and tell him: 'If I can't have you, no one else can,' before the acid was thrown.
Giving evidence at Bristol Crown Court, Wallace said Mr Van Dongen had been physically and verbally abusive to her during their five-year relationship. Advertisement
She said the couple met on a dating website for people with HIV in 2010 and she later had a miscarriage after they tried to start a family.
Wallace claimed the Dutch engineer - who the court heard had a Swastika etched on his hand - would be racist and swear at her. More from UK
'He has hit me,' she told the jury.
3 casinos in oceans 11th. 'To begin with it was more about mouth - saying unkind things.
'Then eventually it was he attacked me because I asked him to leave my house.'
The court heard that in April 2011, police were called to Wallace's basement flat in Westbury Park after she reported that Mr Van Dongen had physically assaulted her.
She told the jury that on one occasion, he had thrown her out of their flat while she was having a shower. She described standing naked outside on the street.
On another occasion, she claimed he pulled her hair extensions out and left her 'bald'.
'When we argued I would be nasty - calling him names: prostitute, paedophile and those kinds of things,' she told the jury.
'I would scratch him, bite him. I don't describe myself as having a temper, I just don't like people hitting me.
'I used to fight back and scratch him and bite him.'
The trial was briefly halted at one point after Wallace broke down in tears in the witness box.
She told the jury she had depression, severe anxiety and PTSD, and had attempted to take her life.
She said she was 'shocked' to hear that Mr Van Dongen, in the summer of 2015, had been speaking to a woman he had met online.
Mr Van Dongen later moved in with the woman, and Wallace admitted making a number of silent phone calls to her. Autobedrijf Dongen Occasions
'I did make these calls to annoy him because he said he was going to help with the bills and then he disappeared,' Wallace told the jury.
She said she bought sulphuric acid days before the alleged attack because she had 'problems with the drains'. Schellekens Dongen Occasions
Among the final text messages between the former couple, the court heard Mr Van Dongen told Wallace: 'I love and care about you. Let's keep peace between us..There is no need for fighting anymore.'
Wallace, of Ladysmith Road, Bristol, denies charges of murder and throwing a corrosive substance with intent. Occasions Dongeng Occasions Dongen Lion Van Loon
The trial continues.
Schellekens Dongen Occasions
Occasions Dongeng
Occasions Dongen Lion Van Loon Lot Essay catalogue raisonn being prepared under the sponsorship of the Wildenstein Institute.
During the 1920s, les annes folles , Van Dongen declared, I passionately love the life of my time, so animated, so feverish. Ah! Life is even more beautiful than painting (quoted in W.E. Steadman and D. Sutton, Van Dongen , exh. cat., The University of Arizona Art Museum, 1971, p. 46). Van Dongen pursued his love of modern life in the cabarets, restaurants and salons of Paris, and in the seaside resorts where his upper-class clientele took their holidays. I love novelty, the unpublished, that which has not been made before ( ibid. ). He sought the patronage of the aristocracy and the nouveau riche, was a favorite guest in the salons of Paris, and hosted his own soires.
Van Dongen' s= social= affinities= and= connections= afforded= him= an= excellent= vantage= point= from= which= he= could= observe= and= chronicle= contemporary= glamour,= fashion= and= mores.= he= was= alert= to= all= the= subtleties= of= social= display= and= behavior= and= could= cast= a= sardonic= eye= on= his= subjects= when= he= chose= to= do= so.= yet= there= is= little= evidence= of= ambivalence= in= his= treatment= of= his= sitters--he= enjoyed= the= spectacle= and= moved= easily= within= this= world,= and= largely= identified= with= it.= his= view= of= those= fabled= years= between= the= wars= is= all= the= more= valuable= because= he= was= genuinely= a= participant= in= the= passing= parade.= he= did= not= seek= or= play= the= roles= of= the= detached= moralist= or= critic;= he= chose= instead= to= let= his= sitters= and= subjects= speak= for= this= lifestyle= and= themselves.= louis= chaumeil= called= van= dongen= le= roi= et= peintre= de= son= temps= (in= Van Dongen
Mercedes 200-500 200 D @ 1990 1e eigenaar / Nwe Dynamo / Nwe APK bij afl. / trekhaak / Zeer netjes! Eetcafe Janssen en Janssen, Dongen: See 65 unbiased reviews of Eetcafe Janssen en Janssen, rated 4 of 5 on Tripadvisor and ranked 1 of 12 restaurants in Dongen. , Geneva, 1967, p. 216).
Van Dongen was the most sought-after portrait painter of his day. Depictions of young women were his specialty. The more provocative display in clothing styles and the emphasis on heavy make-up that he had described in his garish paintings of demi-mondaines --dancers, artist's models and prostitutes--during the previous decade were now nearly universally chic and indeed de rigueur among the fashionable upper classes. While showing off a low dcolletage, the graceful curve of her neck and wrist, her full painted lips, blushing cheeks and long cascading golden brown curls, the sitter in the present painting maintained the wistful and expectant air of an ingnue.
If indeed the times had caught up in many ways with Van Dongen's earlier portrayals of the modern woman, then the techniques he had used to paint them were still current and useful. The typically Fauve use of green shadows, used to complement the pinkness of a woman's skin and the red of her lips and cheeks, is observable in this portrait. The young sitter is solemn and has a pensive air that dignifies her presence.
'
Jacques Chalom des Cordes will include this painting in his forthcoming Kees Van Dongen catalogue raisonn being prepared under the sponsorship of the Wildenstein Institute.
During the 1920s, les annes folles , Van Dongen declared, 'I passionately love the life of my time, so animated, so feverish. Ah! Life is even more beautiful than painting' (quoted in W.E. Steadman and D. Sutton, Van Dongen , exh. cat., The University of Arizona Art Museum, 1971, p. 46). Van Dongen pursued his love of modern life in the cabarets, restaurants and salons of Paris, and in the seaside resorts where his upper-class clientele took their holidays. 'I love novelty, the unpublished, that which has not been made before' ( ibid. ). He sought the patronage of the aristocracy and the nouveau riche, was a favorite guest in the salons of Paris, and hosted his own soires.
Van Dongen's social affinities and connections afforded him an excellent vantage point from which he could observe and chronicle contemporary glamour, fashion and mores. He was alert to all the subtleties of social display and behavior and could cast a sardonic eye on his subjects when he chose to do so. Yet there is little evidence of ambivalence in his treatment of his sitters--he enjoyed the spectacle and moved easily within this world, and largely identified with it. His view of those fabled years between the wars is all the more valuable because he was genuinely a participant in the passing parade. He did not seek or play the roles of the detached moralist or critic; he chose instead to let his sitters and subjects speak for this lifestyle and themselves. Louis Chaumeil called Van Dongen 'le roi et peintre de son temps' (in Van Dongen , Geneva, 1967, p. 216).
Van Dongen was the most sought-after portrait painter of his day. Depictions of young women were his specialty. The more provocative display in clothing styles and the emphasis on heavy make-up that he had described in his garish paintings of demi-mondaines --dancers, artist's models and prostitutes--during the previous decade were now nearly universally chic and indeed de rigueur among the fashionable upper classes. While showing off a low dcolletage, the graceful curve of her neck and wrist, her full painted lips, blushing cheeks and long cascading golden brown curls, the sitter in the present painting maintained the wistful and expectant air of an ingnue.
If indeed the times had caught up in many ways with Van Dongen's earlier portrayals of the modern woman, then the techniques he had used to paint them were still current and useful. The typically Fauve use of green shadows, used to complement the pinkness of a woman's skin and the red of her lips and cheeks, is observable in this portrait. The young sitter is solemn and has a pensive air that dignifies her presence.
A woman accused of murdering her ex-boyfriend by throwing acid over him wept as she told a court he abused her after they met on a HIV dating website.
Berlinah Wallace, 48, is charged with murdering Mark Van Dongen, 29, by leaving him with such catastrophic injuries that he asked for assistance in ending his life.
The fashion student allegedly hurled acid over Mr Van Dongen's face and body at her flat in Bristol in September 2015, and he died at a clinic in Belgium in January 2017.
Mr Van Dongen, who had a new girlfriend but was staying with Wallace, told police he woke at 3am to hear her laugh and tell him: 'If I can't have you, no one else can,' before the acid was thrown.
Giving evidence at Bristol Crown Court, Wallace said Mr Van Dongen had been physically and verbally abusive to her during their five-year relationship. Advertisement
She said the couple met on a dating website for people with HIV in 2010 and she later had a miscarriage after they tried to start a family.
Wallace claimed the Dutch engineer - who the court heard had a Swastika etched on his hand - would be racist and swear at her. More from UK
'He has hit me,' she told the jury.
3 casinos in oceans 11th. 'To begin with it was more about mouth - saying unkind things.
'Then eventually it was he attacked me because I asked him to leave my house.'
The court heard that in April 2011, police were called to Wallace's basement flat in Westbury Park after she reported that Mr Van Dongen had physically assaulted her.
She told the jury that on one occasion, he had thrown her out of their flat while she was having a shower. She described standing naked outside on the street.
On another occasion, she claimed he pulled her hair extensions out and left her 'bald'.
'When we argued I would be nasty - calling him names: prostitute, paedophile and those kinds of things,' she told the jury.
'I would scratch him, bite him. I don't describe myself as having a temper, I just don't like people hitting me.
'I used to fight back and scratch him and bite him.'
The trial was briefly halted at one point after Wallace broke down in tears in the witness box.
She told the jury she had depression, severe anxiety and PTSD, and had attempted to take her life.
She said she was 'shocked' to hear that Mr Van Dongen, in the summer of 2015, had been speaking to a woman he had met online.
Mr Van Dongen later moved in with the woman, and Wallace admitted making a number of silent phone calls to her. Autobedrijf Dongen Occasions
'I did make these calls to annoy him because he said he was going to help with the bills and then he disappeared,' Wallace told the jury.
She said she bought sulphuric acid days before the alleged attack because she had 'problems with the drains'. Schellekens Dongen Occasions
Among the final text messages between the former couple, the court heard Mr Van Dongen told Wallace: 'I love and care about you. Let's keep peace between us..There is no need for fighting anymore.'
Wallace, of Ladysmith Road, Bristol, denies charges of murder and throwing a corrosive substance with intent. Occasions Dongeng Occasions Dongen Lion Van Loon
The trial continues.
