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.  Related Paintings of kees van dongen :. | yellow boots | Ibe violin player | vilande naken kvinna | portrait of guus on a red ground | Iorso |
Related Artists:
Domenico Zampieri
(October 21, 1581 C April 16, 1641) was an Italian Baroque painter of the Bolognese School, or Carracci School, of painters. Domenichino was born at Bologna, son of a shoemaker, and there initially studied under Denis Calvaert. After quarreling with Calvaert, he left to work in the Accademia degli Incamminati of the Carracci where, because of his small stature, he was nicknamed Domenichino, meaning "little Domenico" in Italian. He left Bologna for Rome in 1602 and became one of the most talented apprentices to emerge from Annibale Carracci's supervision. As a young artist in Rome he lived with his slightly older Bolognese colleagues Albani and Guido Reni, and worked alongside Lanfranco, who later would become a chief rival. In addition to assisting Annibale with completion of his frescoes in the Galleria Farnese, including A Virgin with a Unicorn (c. 1604-5), he painted three of his own frescoes in the Loggia del Giardino of the Palazzo Farnese c. 1603-04. With the support of Monsignor Giovanni Battista Agucchi, the maggiordomo to Cardinal Aldobrandini and later Gregory XV, and Giovanni??s brother Cardinal Girolamo Agucchi, Domenichino obtained further commissions in Rome. His most important project of the first decade was decoration of the Cappella dei Santissimi Fondatori in the medieval basilica of the Abbey of Grottaferrata (1608-10), some 20 kilometers outside Rome, where Odoardo Farnese was the titular abbot. Meanwhile he had completed frescoes c. 1604-05 in the church of Sant'Onofrio, feigned stucco decoration of 1606-07 in the Palazzo Mattei, a large scene of The Flagellation of St. Andrew at San Gregorio Magno, painted in competition with a fresco by Reni that faces it, and a ceiling with Scenes from the Life of Diana, 1609, in the Villa Odescalchi at Bassano di Sutri (today Bassano Romano). Following Annibale Carracci's death in 1609, Annibale's Bolognese pupils, foremost Domenichino, Albani, Reni and Lanfranco, became the leading painters in Rome (Caravaggio had left Rome in 1606 and his followers there did not compete successfully with the Bolognese for fresco or altarpiece commissions). One of Domenichino's masterpieces, his frescoes of Scenes of the Life of Saint Cecilia in the Polet Chapel of San Luigi dei Francesi, was commissioned in 1612 and completed in 1615. Concurrently he painted his first, and most celebrated, altarpiece, The Last Communion of St. Jerome for the church of San Girolamo della Carite (signed and dated, 1614). It subsequently would be judged as being comparable to Raphael great Transfiguration and even as "the best picture in the world." By late 1616, Domenichino had designed the coffered ceiling with The Assumption of the Virgin in Santa Maria in Trastevere; and he had begun a cycle of ten frescoes depicting the Life of Apollo in a garden pavilion of the Villa Aldobrandini (Belvedere) in Frascati, where he was assisted by Giovanni Battista Viola, a Bolognese artist who, like Domenichino himself, was a pioneer in the development of classicistic landscape painting. From 1617 until 1621, Domenichino was absent from Rome, working in Bologna and at Fano, where during 1618-19 he frescoed the Nolfi chapel of the Fano Cathedral with Scenes from the Life of the Virgin. With the election of a Bolognese pope (Gregory XV) in 1621, Domenichino returned to Rome. Appointed Papal Architect (he built little but left drawings for various projects, most notably for the façade of Sant'Andrea della Valle and for the plan of Sant'Ignazio, both in Rome), he nonetheless continued to be most active as a painter, obtaining many commissions for altarpieces in Roman churches (San Lorenzo in Miranda, 1626-27, SS. Giovanni Evangelista e Petronio dei Bolognese, 1626-29, Santa Maria della Vittoria, 1629-30, and St. Peter's, 1625-30). He also executed numerous frescoes in Rome during the 1620s: a ceiling in the Palazzo Costaguti (c. 1622); the choir and pendentives in Sant'Andrea della Valle, where he worked in fierce competition with Lanfranco, who painted the dome above Domenichino's pendentives; and the pendentives of San Silvestro al Quirinale (c. 1628) and San Carlo ai Catinari (1628-30).
Theodor Leopold Weller
Germany (1802 -1880 ) - Drawer painted Portrat einer Dame mit Brosche in19th century
Julian Falat
(30 July 1853 in Tuligłowy near Lwew - 9 July 1929 in Bystra Śląska) was one of the most prolific Polish painters of watercolor and one of the country's foremost landscape painters as well as one of the leading Polish impressionists. Fałat first studied under Władysław Łuszczkiewicz at the Krakew School of Fine Arts, and then at the Art Academy of Munich. After several trips throughout Europe and Asia in 1885, Fałat compiled a collection of studies from his voyages which would become useful later in the development of his artwork. Themes typical of Fałat's painting are Polish landscapes, hunting scenes, portraits, and studies from his voyages. In 1886, Fałat accepted an invitation from future German Emperor Wilhelm II to serve as court painter in Berlin. Fałat died in Bystra Śląska on July 9, 1929. A museum in Poland, called Fałatewka, is devoted to him. Out of his three children, Kazimierz (Togo) (1904-1981) continued to paint in watercolour. Some works, having been looted under German occupation, very occasionally reappear in sales-rooms. Later works, produced after he settled in England, are largely in the hands of his later family.