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Kees Van DONGEN (1887 - 1968)

Original artwork by Kees Van Dongen. Champ de courses à Mandelieu, 1924.

Oil on canvas signed lower left. Dimension: 81 x 100 cm.

Exhibition: Martigny, Pierre Gianadda Foundation, Kees van Dongen, January-June 2002, n. 76 (reproduced in colors)
Bibliography: Des Courières (ed.), Van Dongen, Paris, 1925 (reproduced on page 61) and P. Fierens, Van Dongen: Man and the Work, Paris 1927.

This work will be included in the catalog raisonné of the work of Kees Van Dongen in preparation by Jacques Chalom des Cordes, under the auspices of the Wildenstein Institute. Registered under the reference number 03.09.01.8975.325.

A certificate from the Wildenstein Institute, by Jacques Chalom des Cordes, dated September 1, 2003 comes with the artwork.

Oeuvre d’art originale de Kess Van Dongen. Champ de courses à Mandelieu de 1924.

Huile sur toile signée en bas à gauche. Dimension : 81 x 100 cm.

Exposition : Martigny, Fondation Pierre Gianadda, Kees van Dongen, Janvier-juin 2002, n. 76 (reproduit en couleurs)
Bibliographie: Des Courières (ed.), Van Dongen, Paris, 1925 (reproduit p. 61) et P. Fierens, Van Dongen : L’homme et l’œuvre, Paris, 1927 (reproduit)

Cette œuvre sera incluse au Catalogue raisonné de l’œuvre de Kees Van Dongen en préparation par Jacques Chalom des Cordes, sous l’égide de l’Institut Wildenstein. Enregistrée sous la référence n°03.09.01.8975.325.

Une attestation du Wildenstein Institute, par Jacques Chalom des Cordes, en date du 1 septembre 2003 vient avec l’œuvre.

#peinture #painting #art #kunst #KessVanDongen #Avantgarde #fauvisme #fauvism #TachismeFauve #FauveTachism #Expressionnisme #Expressionism

Cornelis Theodorus Maria 'Kees' van Dongen born on 26 January 1877 and died on 28 May 1968; he was a Dutch-French painter and one of the Fauves at the controversial 1905 Salon d'Automne exhibition. He gained a reputation for his sensuous, at times garish, portraits.
Kees van Dongen was born in Delfshaven, then on the outskirts, and today a borough, of Rotterdam. He was the second of four children in a middle-class family. In 1892, at age 16, Kees van Dongen started his studies at the Royal Academy of Fine Arts in Rotterdam, working with J. Striening and J.G. Heyberg. During this period (1892–97), van Dongen frequented the Red Quarter seaport area, where he drew scenes of sailors and prostitutes. He met Augusta Preitinger at the Academy, a fellow painter.
In 1897, van Dongen lived in Paris for several months, where there was a large emigre community. In December 1899 he returned from Rotterdam to Paris, where Preitinger had moved before him and found work.
He returned to join Augusta Preitinger ("Guus"), whom he had met at the Academy. They married on 11 July 1901. They had two children together: a son died a couple of days after birth in December 1901; their daughter Augusta, called "Dolly", was born 18 April 1905.
Guus took Dolly to see their families in Rotterdam in the summer of 1914, where they were caught by the outbreak of World War I. They were not able to return to Paris until 1918. Preitinger and van Dongen divorced in 1921.
In 1917, van Dongen had become involved with a married socialite, the fashion director Léa Alvin, also known as Jasmy Jacob. Their relationship lasted until 1927.
Van Dongen began to exhibit in Paris, and participated in the controversial 1905 Salon d'Automne exhibition along with Henri Matisse, André Derain, Albert Marquet, Maurice de Vlaminck, Charles Camoin, and Jean Puy. The bright colours of this group of artists led to them being called Fauves ('Wild Beasts') by art critic Louis Vauxcelles. Van Dongen was also briefly a member of the German Expressionist group Die Brücke.
In these years he was part of an avant-garde wave of painters, including Maurice de Vlaminck, Othon Friesz, Henri Rousseau, Robert Delaunay, Albert Marquet, Édouard Vuillard, who aspired to a renewal of painting which they thought was stuck in neo-impressionism.
In 1906, Preitinger and van Dongen moved to the Bateau Lavoir at; 13 rue Ravignan in Montmartre, where they were friends with the circle surrounding Pablo Picasso and his girlfriend Fernande Olivier.
In addition to selling his paintings, van Dongen also gained an income by selling satirical sketches to the newspaper Revue Blanche. He also organised very successful costume balls in Montparnasse, to which people paid admission, to gain extra income.
After the First World War, under the influence of his companion, the fashion director Lea Alvin (Jasmy Jacob), among others, van Dongen developed the lush colours of his Fauvist style. This earned him a solid reputation with the French bourgeoisie and upper class, where he was in demand for his portraits.
As a fashionable portraitist, he was commissioned for subjects including Arletty, Louis Barthou, Sacha Guitry, Leopold III of Belgium, Anna de Noailles and Maurice Chevalier.
With a playful cynicism he remarked of his popularity as a portraitist with high society women, "The essential thing is to elongate the women and especially to make them slim. After that it just remains to enlarge their jewels. They are ravished." This remark is reminiscent of another of his sayings: "Painting is the most beautiful of lies".
In 1926, he was made a Knight of the French Legion of Honour, and in 1927 the Order of the Crown of Belgium in recognition of his contributions to art. In 1929, the French government awarded him citizenship. Two of his works were collected that year by the Musée du Luxembourg.
The social and commercial appeal of his later work (such as a 1959 portrait of Brigitte Bardot in a little black dress, with her hair tousled) did not match the artistic promise or the bohemian eroticism of his first three decades of work.
From 1959, Kees van Dongen lived in Monaco. He died in his home in Monte Carlo in 1968. An extensive collection of van Dongen's work is held by the New National Museum of Monaco.

#biography
Wikipedia
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Le peintre néerlandais Kees Van Dongen, de son vrai nom Cornelis Théodorus Marie Van Dongen, naît le 26 janvier 1877 à Delfs haven, dans la banlieue de Rotterdam. Il décède le 28 mai 1968 à Monaco.
Les premières œuvres de Van Dongen, réalisées en Hollande, reflètent l’éclectisme typique d’un jeune artiste. Ses premières peintures sont marquées par son admiration pour Rembrandt ainsi que par les influences plus contemporaines de l’École de La Haye (Mauve, Israels, Breitner).
À Paris, son style évolue au contact des avant-gardes. L’année précédant le Salon d’Automne de 1905, Kees Van Dongen connaît une période rattachée stylistiquement au néo-impressionnisme et dont la liberté d’une touche sans complexe a des allures parfois d’un «pré-orphisme» quand la diffraction optique de la lumière va jusqu’aux limites d’un éclatement de la forme.
Louis Chaumeil utilisa l’expression de «tachisme fauve» pour exprimer les tonalités pures et la facture pointilliste libre de nombreux tableaux et dessins de 1904-1905. Ceux-ci évoquent le spectacle permanent de Montmartre, Moulin de la Galette, carrousels, cirque, fêtes populaires et s’inscrivent dans le contexte des relations entretenues par Van Dongen avec Paul Signac et Maximilien Luce.
Au Salon d’Automne de 1905 qui consacre le fauvisme comme une nouvelle tendance de l’art moderne, avec Henri Matisse, Maurice de Vlaminck, Raoul Dufy, André Derain, Albert Marquet et Louis Valtat, Van Dongen se singularise avec deux œuvres. Ses expositions personnelles se multiplient, à la Galerie Kahnweiller puis à la Galerie Bernheim-Jeune.
Le peintre est en quête d’un nouveau style et de sujets modernes. Prestations d’acrobates, tours de manège et scènes de cabaret sont autant de sujets imprégnés de mouvement, de couleur, de frivolité et d’un éclairage théâtral, qui fournissent à l’artiste une matière première propice à l’expérimentation. Car ces sujets sont ceux qu’il partage avec l’avant-garde et en particulier Picasso, son voisin du Bateau-Lavoir. L’Art du portrait chez Van Dongen se met peu à peu en place : sa première femme Guus, sa fille Dolly et Fernande Olivier, la compagne de Picasso sont ses modèles de prédilection.
Si Van Dongen fait figure d’ «isolé» au sein du fauvisme, ses expositions, en Allemagne avec le groupe Die Brücke, à la Sécession de Berlin et en Russie avec l’exposition de «La Toison d’or» en compagnie de Paul Cézanne, Vincent Van Gogh, Toulouse-Lautrec, Paul Signac, André Derain et Albert Marquet, rappellent sa parenté avec l’Expressionnisme allemand ou russe sur lequel il a pu exercer une influence.
De 1907 à 1912, à l’apogée de sa période fauve, le thème de la femme domine les toiles de Van Dongen. Les plus érotiques de ses œuvres remontent au début de cette période, dans une série qui dépeint des modèles posant pour l’artiste debout, assises sur une chaise ou allongées. Ces œuvres respirent la sensualité émanant de l’érotisme des poses du modèle, nu ou dévêtu, des couleurs somptueuses utilisées pour leurs visages et le contour contrasté de leur corps, ainsi que sa facture énergique et gestuelle.
En 1910, Van Dongen voyage en Espagne, puis au Maroc, et en 1913 en Égypte. Il réalise un certain nombre de tableaux d’après des croquis rapportés de ses voyages ou des portraits en atelier, usant d’une iconographie hispanisante ou orientaliste. Mantilles, châles espagnols, tons chatoyants des étoffes de gitanes ou d’Andalouses viennent dominer la science des couleurs de Van Dongen : Joaquina, La Gitane ou Djilali, l’Égyptienne, Le Châle de Manille. Il pare sa femme Guus d’un châle pour Tableau (ou Le Châle espagnol) qui fera scandale au Salon d’Automne de 1913.Van Dongen puise dans les cultures des pays arabes, de l’Inde mais aussi de l’Indonésie une nouvelle source d’inspiration et de sujets attrayants, qui sont autant de prétextes pour représenter le mouvement et créer de nouvelles harmonies de couleurs intenses. En plus de ses nombreux voyages, l’artiste a étudié les sculptures et les miniatures orientales.
Van Dongen entreprend des tableaux d’un rouge monochrome représentant des femmes dans l’atelier en 1914. Cette série n’est pas sans évoquer Matisse, et Van Dongen reprendra à nouveau le thème de l’atelier dans les années vingt, cette fois dans des œuvres à dominante bleue. Ces grandes femmes minces se parent de bijoux, se regardent dans la glace ou bavardent entre elles. Elles assument le même rôle de séduction que les femmes de ses toiles fauves, mais, en revanche, elles sont plus lointaines, suggérant le raffinement et l’élégance.
À la veille de la Première guerre mondiale, Van Dongen fait la rencontre de la Marquise Casati et surtout de Jasmy Jacob, qui deviendra sa compagne. Ces deux égéries entraînent le peintre dans les milieux artistiques des années folles où se croisent la Baronne d’Oettingen, Apollinaire, Kisling, Picasso ou Max Jacob, qu’il connaissait du temps de la bohème montmartroise. Van Dongen organise des bals dans son atelier et fait partie du Tout-Paris mondain, ce qui lui vaudra, à nouveau, de nombreuses commandes de portraits qui sont la chronique d’une avant-garde artistique. Anatole France, Jasmy, Geneviève Vix, Maria Ricotti, Anna de Noailles, Charles Rappoport sera parmi les plus célèbres portraiturés de l’artiste.
Par ailleurs, Van Dongen peint un certain nombre de compositions dont certaines comme L’Enlèvement avaient fonction de panneaux décoratifs. Le Tango de l’Archange, commencé en 1922 et terminé en 1935, est certainement l’œuvre le plus emblématique de cette veine. Découvrant la sociabilité, Van Dongen devient un acteur et un témoin des années folles : Deauville ou Cannes, champs de courses, deviennent les lieux privilégiés d’un monstre sacré de la peinture figurative.

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Tommaso BARBI - Manufacture Roma Italia

Lighting designed by Tommaso Barbi; Rhubarb leaves floor lamp produced in Italy circa 1970’s.

Floor lamp in gilded brass; Dimensions: 157 x 176 x 90 cm.

Luminaires conçu par Tommaso Barbi. Lampe aux feuilles de rhubarbe manufacturée en Italie vers les années 1970.

Lampadaire en laiton doré. Dimensions 157 x 176 x 90 cm.

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Italian designer Tommaso Barbi is best known for his whimsical furniture featuring organic forms, including brass leaf-shaped lamps.

!!! Note: He had his own workshop in Rome and many items were hand made. The leaves were hand hammered and gilded.

#biography
Still working and researching on this designer or manufacture. #yoannickysebaert
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Tommaso Barbi est un designer italien. Ses créations arborent des formes organiques, on pense notamment à la lampe « Feuille » créée dans les années 70.

!!! Note : Il avait son propre atelier à Rome et beaucoup d'articles étaient faits à la main. Les feuilles étaient martelées et dorées à la main.

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Toujours on mode recherche sur ce concepteur ou fabricant.
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On this day:
At 25th December of 1996, "Evita" premiered in US theaters. "Evita" is an American musical drama film based on Tim Rice and Andrew Lloyd Webber's musical of the same name. The film depicts the life of Eva Perón, detailing her beginnings, rise to fame, political career and death at the age of 33. Directed by Alan Parker, and written by Parker and Oliver Stone, the film stars Madonna as Eva, Antonio Banderas as Ché, an everyman who acts as the film's narrator, and Jonathan Pryce as Eva's husband Juan Perón. "Evita" was a commercial success and received various awards and nominations.

Although musicals were a highly theatrical form during the last quarter of the twentieth century, the traditional cinema musical declined during this period; "Evita" was one of the few stage musicals to transfer to the cinema screen.

Most cinematic musicals of the period ("Fame" being a good example and "Grease" a rare exception) generally use spoken dialogue to convey emotion, with the characters only singing and dancing in situations where people would sing and dance in real life.

"Evita", however, goes to the opposite extreme. It is more like an opera than to a traditional musical, with little spoken dialogue, almost everything being sung. Eva Perón was, and remains, a controversial figure, both in her native Argentina and internationally, but there can be little doubt that she was also a remarkable one.

Eva played an important role in her husband's rise to power, rallying his supporters when he was arrested by the military dictatorship, and during his time in office she was virtually canonised by the party faithful, who saw her as the "spiritual leader of the nation". The film, like the stage musical, traces her life from her impoverished childhood, through her rise to fame as an actress, her marriage to Perón and her time as first lady to her tragic death from cancer at the age of 33.

The film essentially tells the same story as the stage show, but makes two major changes. In the stage production, Eva leaves her first lover, the singer Agustín Magaldi; in the film he abandons her to return to his wife. The reason, it seems, is to make the young Eva a more sympathetic and vulnerable character, and possibly also to give Madonna the chance to perform one of the show's hit songs, "Another Suitcase in Another Hall", which on stage is sung by Perón's mistress.

The second major change concerns the character of Che, who here becomes an everyman figure and is not identified with the historical Che Guevara. (It is said that the left-leaning director Alan Parker made this change because he did not like the way Guevara, an idol of the Left, had been treated by the right-leaning lyricist Tim Rice). If anything, the "Che" of the movie is more of a disillusioned Peronist- we see him marching as one of the "descamisados" who sweep Perón to power, than a Communist.

Madonna gives here the greatest acting performance of her career, able to bring out all the contrasting sides of Eva's personality, making her not merely a strong and determined woman but also a vulnerable and tragic one.

Madonna, of course, was a singer before she was an actress, so may have been helped by the fact that her role is almost entirely sung rather than spoken. Jonathan Pryce is also good as Perón, played here less passionate and less determined than his wife, but also a wily political opportunist. Antonio Banderas makes a charismatic Che.

The film's great strength, of course, is the combination of Rice's lyrics and Andrew Lloyd Webber's music, which combine to produce some of the most memorable songs in the modern musical theatre.

Sometimes these are mordantly cynical ("Oh What a Circus", "Goodnight and Thank You", "Peron's Latest Flame"), sometimes lyrical and poignant. ( "Another Suitcase in Another Hall", "Don't Cry for Me Argentina"), and sometimes they manage to combine both moods ("I'd Be Surprisingly Good for You").

"Evita" triumphantly proved that, even in the 90's, there was still life in the cinematic musical.

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====
Warren Edward Buffett was born on August 30, 1930 in Omaha, Nebraska, to Howard, a stockbroker and future congressman, and Leila (Stahl) Buffett. As a child, Buffett reportedly showed interest in stocks, writing stock prices on the chalk board in his father's office. Legend has it that he told his childhood friend if he wasn't a millionaire by age 30, he would jump off of the tallest building in Omaha. When Buffett was 11 years old, he visited the New York Stock Exchange and bought his first shares: three shares of Cities Service Preferred (an oil and gas concern) for himself and three for his sister Doris.

Nebraska was hit hard by the effects of the Great Depression. Like many children of the Depression, Buffett grew up to respect the value of money. He became so frugal that when he moved to New York for business school, he lived at the YMCA in order to save money. He got a job as a paperboy when he was 13 years old, and would eventually deliver newspapers on both the morning and afternoon routes. In 1944, Warren filed his first tax return and reached his short-term goal of having $1,000.

Buffett spent his formative adolescence in Washington, D.C., where he graduated from Woodrow Wilson High School. In grade school and high school Buffett not only showed his precocious proclivity for business by delivering newspapers, but also sold stamps, Coca-Cola (KO) beverages, golf balls and magazines door-to-door, while also working as an editor for a horse racing tip sheet called Stable-Boy Selections. During this period, Warren started a pinball leasing business. He and a business partner bought cheap pinball machines, ensured they were in working order, and then installed them to get what were, quite possibly, his high school classmates' coins.
By the time he was 15, Warren had amassed $2,000 and used it to buy a 40-acre farm in Nebraska. He hired a farm laborer to work on the land, then used the profits to help pay his way through University. Warren graduated with a Bachelor of Science degree from the University of Nebraska, Lincoln, after which he applied to Harvard Business School. After being rejected by Harvard, Warren matriculated at Columbia Business School, where he graduated in 1951 with a Master of Science in Economics. While at Columbia, Warren studied under legendary value investor Benjamin Graham.

With his degree in hand, Warren returned to Omaha and studied public speaking while there. He also began teaching investing at the University of Nebraska, Omaha. In 1954, Warren moved his new wife Susan and his young daughter to New York, where he began working for his mentor, Benjamin Graham.

After several years of moving from city to city, Warren permanently returned to Omaha and bought himself a modest house. For someone as frugal as Warren, the $31,500 price tag on the house was difficult for him to accept and he nicknamed the decision Buffett’s Folly.

From 1951 to 1956, Warren was an investment salesman and a securities analyst. By 1956, he had $174,000 and a house, and decided to retire at 26 years of age, under the belief that he could make enough money from his investments alone to live a comfortable life. Warren realized, however, that to meet his goal of becoming a millionaire by age 35, he would have to be more active. Fortunately for his future partners and Berkshire Hathaway (BRK-A) shareholders, Warren changed his mind and went after the opportunity for his biggest success. In 1956, he started Buffett Partnership Ltd.

Warren's first and most famous and influential deal was his acquisition of Berkshire Hathaway in 1964. The company started life in the 1830s as the Valley Falls Company, a textile manufacturer, and then became the Berkshire Fine Spinning Associates in 1929, before eventually merging with the Hathaway Manufacturing Company in 1955. After the merger, Berkshire Hathaway was a profitable business with millions of dollars in revenue, 12,000 employees and 15 factories. Buffett made his first investment in the company in 1962.

In June of 2006, Buffett announced his intention to give away most of his fortune to charity. The bulk of his donation was announced in a letter to the Bill and Melinda Gates foundation, which, as of 2014, has received 185 million shares of Berkshire Hathaway at a market value of US$28.3 billion.

Buffett told Charlie Rose in 2006, "I don't believe in dynastic wealth." Buffett's belief that people who inherit wealth are "members of the lucky sperm club" and his liberal politics persuaded him not to give his fortune to his children. Buffett also favors inheritance taxes, and higher taxes on capital in general.

Warren's first wife, Susan, died in 2004. In 2006, he married Astrid Menks, with whom he "had a relationship of 20 years," according to The New York Times. Warren and Susan had lived apart since the late 1970s, but never divorced, and Susan approved of his relationship with Astrid.



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