The name Adam, which in the Old Testament was given to the first man, derives from the Hebrew word adamah (earth), but is also close to adom, (red) and dam (blood). The relationship between brown and red in this painting may therefore symbolise man's intimacy with the earth.
Gouache, aquarelle, crayon noir et encre sur papier, 25 x 33 cm
L'escalier de l'Opéra, 1901
46,5 x 58,6 cm
Nouveau Musée National de Monaco.
Souvenir of the Russian Opera Season, 1909
Oil on canvas, 54.2 x 65 cm
National Gallery of Canada
Depicting the Russian ballerinas Anna Pavlova and Ida Rubinstein dancing "Cléopâtre", Kees van Dongen's painting commemorates a key event in cultural history: the 1909 inaugural season of Sergei Diaghilev's Ballets "Russes" in Paris. (Source)
Portrait de Kahnweiler, 1907
Huile sur toile, 65 cm x 54 cm
Geneva, Musée du Petit-Palais
Femme orientale, 1910
Huile sur toile, 100 cm x 81 cm
En la Plaza, femmes à la balustrade, 1911
Huile sur toile, 81x100 cm Saint-Tropez, Musée de l'Annonciade
Le Coquelicot, c.1919
Huile sur toile , 53 x 45,7 cm Museum of Fine Arts, Houston.
Les Escarpins Mauves, 1921
Huile sur toile, 100x150cm
Tango ou Le Tango de l’archange, 1922-1935
Huile sur toile, 196 x 197 cm
Nouveau Musée National de Monaco
Painter Kees van Dongen standing next to a poster advertising his paintings.
Oil on canvas, 91 x 55,5 cm
Hungarian National Gallery, Budapest
Having finished the Budapest Academy of Fine Arts, Vilmos ABA-NOVÁK apprenticed with Adolf FÉNYES in the Szolnok colony for a year in 1913. In the summer of 1921 and 1923 he visited Nagybánya and in 1928-1930 he was on scholarship by the Hungarian Academy of Rome.
His painting of vigorous forms based on a keen observation of reality gained new impetus from Neo-Classicist spirit of Novocento. As the leading figure of the Roman School he switched over to tempera and produced historical and ecclesiastic mural paintings. While his frescos testify to his bent for monumentality and stylisation, his canvases of everyday topics display perceptive characterization, sometimes verging on caricature.
His choice of themes was influenced by his attraction both to rural scenes and to the evolving folklore of modern urban life with its jazz bands, circus scenes and waitresses.He used the powerful contrast of pure colours as well as forms built of massive blocks and steep edges to express his experiences. From 1939 on he taught at the Budapest Academy of Fine Arts. In 1940 he won a grand prix at the Venice Biennale. (Source: kieselbach.hu)
Laura No. 1, 1929
Oil tempera on canvas, 94 x 78 cm
Red's Band, c. 1930
Tempera on wood, 72 x 58 cm