#VanDongen

[detournementsmineurs]

"La Vasque Fleurie" de Kees Van Dongen (1917) à l'exposition “Le Paris de la Modernité (1905-1925)” du Petit Palais, Musée des Beaux-Arts de la Ville de Paris, décembre 2023.

[ananta108]

H.R. Van Dongen

[thesevyanthouseillustrations]

Last May I visited the temporary exhibition at @museothyssen in Malaga entitled #femmefatale and I got so impressed by #vandongen ‘s work art, I think he was an incredible fasion Illustrator pioneer . The illustration of the day is inspired on Van Dongen painting. • • 🇪🇸 El pasado Mayo visité la exposición temporal en el Museo Thyssen de Malaga, titulada “Femmes Fatales” y quedé enormemente sorprendido por la obra del artista Kees Van Dongen, un verdadero pionero en la ilustración de moda. La ilustración de hoy está inspirada en este increíble artista. •* Illustrations by ©️ @thesevyanthouse_illustrations https://www.instagram.com/p/B0aS9UmCcPZ/?igshid=1g0s58h7z8y7f

[shitjudgessay]

Guns + Roses

KIEFEL CJ: Could I have time estimates please?

MR VANDONGEN: I would have thought one day, your Honours.

KIEFEL CJ: For all matters or just for your matter?

MR VANDONGEN: No, for all matters, your Honours.

KIEFEL CJ: Do you agree with that, Mr Walker?

MR WALKER: Yes, encouragement from the Bench is sufficiently administered by your Honours.

KIEFEL CJ: I am not putting any pressure on anyone. Is it a realistic estimate?

MR WALKER: Yes.

MR MOSES: I do not agree, your Honour. I think this would be a day plus because if our friends are going to have to invite you to go through the evidence, which you will have to go through, it may take a bit longer than that. So I would think just to be safe a day plus.

KIEFEL CJ: It might go over into a second day.

MR MOSES: I think so, your Honour, just to be safe.

KIEFEL CJ: But certainly we are not talking about anything more than a day and a half.

MR MOSES: No, your Honour. I would not try your Honour’s patience with that.

SOURCE: Lordianto & Anor v Commissioner of the Australian Federal Police; Kalimuthu & Anor v Commissioner of the Australian Federal Police [2019] HCATrans 54 (22 March 2019)

[tynatunis]

#Repost @yoyomaeght Holala, voici l'exposition à ne pas rater "Fernande Olivier et Pablo Picasso, dans l’intimité du Bateau-Lavoir" qui vient tout juste de débuter au Musée de Montmartre, en plus c'est un de mes musées préférés à Paris. Un bijou ! . Quelques mots sur cette exposition qui, enfin et pour la première fois, rend hommage à une femme d'exception, Fernande Oliver. . Cette muse et modèle de nombreux artistes est hélas trop souvent et banalement réduite au simple fait d'avoir été la compagne de Picasso durant les premières années de l'Espagnol à Paris. . Or elle fut aussi et devrais-je dire - surtout - une artiste, une formidable femme de lettres mais aussi un extraordinaire témoin d’une époque¨ : celle de la bohème montmartroise qu'elle a, et c'est une chance pour nous, racontée dans de nombreux écrits. . Le voici peinte par Kees van Dongen en 1907. . #montmartre #museedemontmartre #fernandeolivier #picasso #keesvandongen #vandongen #pablopicasso #bateaulavoir #lebateaulavoir #laboheme #espagnol #muse #inspiratrice #womanartist #buttemontmartre #yoyomaeght #maeght #histoiredelart https://www.instagram.com/p/CjuQHAqoX43/?igshid=NGJjMDIxMWI=

[pittrarebooks]

Pulp: Cover Art by Distinguished Artists

Last semester, Professor Jessica FitzPatrick’s class, Narrative & Technology, visited Archives & Special Collections to work with an array of materials including science fiction pulp magazines, science fiction fanzines, comic books, and artists’ books (just to name a few). For extra credit, students had the opportunity to submit a blog post to be featured on our Tumblr. What a perfect fit for #scififriday!

Figure 1: The artwork of Virgil Finlay for Fate Magazine

We often emphasize the importance of first impressions. The very first time that we meet someone or see something makes all the difference. I experienced this phenomenon when encountering science fiction pulp magazines for the first time. My eyes were first drawn in by the vibrant colors on the front page and then my gaze lingered as I glanced over the provocative headlines and the female on the front cover. This visual experience made me eager to learn more about these cover artists and their contributions to the production of pulp magazines.                                                

After doing some research, I found that many cover artists became as popular as the authors of the pieces within. While the editors of these magazines made decisions about the glossy paper to print the covers on, the artists used these choices to their advantage. They utilized sleek, higher quality paper for their artwork that contrasted with the cheap and rugged pulp paper inside. Interestingly, these covers would sometimes be designed before any content of the magazine was written (“Pulp Magazine”). In other words, artists would look to the cover art for inspiration. For this project, I focused specifically on the artwork of Virgil Finlay for Fate Magazine and the artwork of Richard Van Dongen for Astounding Science Fiction. I will be commenting on visual techniques and themes used on these covers that served the purpose of gaining the readership of their intended audiences as well as fueling the content written within.                                       

The first pulp cover that I examined was by a well-known cover artist at the time, Virgil Finlay. An obvious feature of this cover is the portrayal of the typical damsel in distress female. To go along with this are the words, “sex and hypnotism”, which indicate the provocative and exploitative nature of this pulp. This sexualized depiction of women was a common feature of sci-fi pulps that were targeted toward a largely male audience. Finlay’s style for this particular art piece is one of very bright, contrasting colors. This differs from much of his work in which he used black ink with a scratchboard technique. For these black and white illustrations, Finlay used a sharp blade to scratch away white lines from a clay board covered in black ink (Parker). While black and white ink creates an obvious contrast, Finlay chose to use the colors red and green to create a similar effect in this cover art. He cleverly chose to color the woman’s dress green to make her stand out against the swirling red background. Another indicator of her importance to the interest of perspective pulp readers is that we get to see her full face, while we only get to see the side profile of the hypnotist.

Figure 2: Psychiatry Looks at Hypnosis by John C. Ross

As you can see from Figure 2, the cover serves as a good indication of what is published within. In the piece, “Psychiatry looks at Hypnosis,” there is an illustration depicting a male psychiatrist conducting an evaluation on a troubled female figure. While she is not portrayed as provocatively as the female on the front cover, she is positioned in the foreground of the image. The focus remains on the female, while the psychiatrist remains in the background. While I am uncertain if Finlay’s cover art for this pulp was produced before the written content, that is my speculation based on this connection between the female figures in each.

Figure 3: The artwork of Van Dongen for Astounding Science Fiction 

The other pulp artist that I came across offered a contrasting style with the art of Finlay. Van Dongen used a different method than the female physique to appeal to the largely male readership. He relied instead on a realistic style that matched the pulp editor, John W Campbell’s  vision of a “more dignified” looking science fiction pulp (Gustafson, Nicholls, Westfahl, & Langford). Rather than illustrating a female in bright colors, he relied on the oddity of an alien creature sharing some brews with the captain of a ship (Figure 3). His colors are more dull and there is not one thing that sticks out more than others. This cover did not catch my eye in the same way, but it still serves a purpose. It is far less provocative than the cover of Fate Magazine which may suggest that the authors of Astounding Science Fiction (and its artists) made the effort appeal to those who are more interested in genre of Science Fiction itself.

Figure 4: An article found withing Astounding Science Fiction

As the front page had led me to guess, one of the pieces inside of this pulp seemed to be targeted toward those interested in the subject of science itself. On one of the first pages of this pulp, there was an article about an electric kit for “brainiacs” (Figure 4). There is an illustration of a male to go along with this, of course.

Virgil Finlay and Van Dongen were two distinguished pulp artists with very different styles. Finlay began his career in 1935 where he began doing interior magazine illustrations. In addition to this, he also illustrated the cover art of upwards of 60 magazine covers. He is well-known for both his mentioned black-and-white style as well as the color illustrations such as the one for Fate Magazine. He was nominated for seven Hugo Awards (science fiction literary awards) and inducted into the Science Fiction Hall of Fame in 2012. (Gustafson, Nicholls, & Westfahl). Van Dongen on the other hand, entered the science fiction field in 1950 after going to school and training in retouching photographs. During his career, he painted over 40 covers for Astounding Science Fiction as well as Worlds Beyond, Space Science Fiction, and Science Fiction Adventures. Van Dongen received the Hugo Best Artist award in 1959 for his work in Astounding Science Fiction (Gustafson, Nicholls, Westfahl, & Langford). Finlay and Van Dongen each made a name for themselves in the field of science fiction pulp. The similarity that they share is the ability of their artwork to draw in readers and to fuel the content of what lies on the pages within.                                       

Works Cited:

Gustafson, Jon, Peter Nicholls and Gary Westfahl. “Finlay, Virgil.” The Encyclopedia of Science Fiction. Eds. John Clute, David Langford, Peter Nicholls and Graham Sleight. Gollancz, 18 Jan. 2017. Web. 19 Mar. 2018.

Gustafson, Jon, Peter Nicholls, Gary Westfahl and David Langford. “van Dongen.” The Encyclopedia of Science Fiction. Eds. John Clute, David Langford, Peter Nicholls and Graham Sleight. Gollancz, 2 Apr. 2015. Web. 19 Mar. 2018.

Parker, Charley. “The Dark and Light of Virgil Finlay.” Tor.com. N.p., 31 July 2013. Web.

“Pulp Magazine.” Wikipedia. Wikimedia Foundation, n.d. Web. 16 Feb. 2018.

-Lydia Belezos, undergraduate, University of Pittsburgh 

[escapefromadreamingplanet]

Good morning. #goodmorning #vandongen

[julienphoque]

PROUST . #nosamislespoetes #proust #marcelproust #alarechercedutempsperdu #litterature #bibliotheque #livres #librairies #dessin #illustration #drawing #illustrationartists #portrait #pantheon #auteur #poesie #illustrationoftheday #manga #madeleine #vandongen #balbec #plage #genie #phrases #romantisme #nostalgie #redevenirextravagant #kawaii #poete #julienphoque https://www.instagram.com/p/CIH_Taaha6O/?igshid=1uw3ca45l8c4l

[detournementsmineurs]

“Le Tango de l'Archange" de Kees Van Dongen (1023-35) présenté à la conférence “Les Vampires dans l'Art” par Marine Chaleroux - Historienne d'Art - de l'association Des Mots et Des Arts, octobre 2023.

[gilles-andre]

Kees Van Dongen

[ananta108]

H.R. Van Dongen

[moustachu6]

It’s funny as I used to like this picture very much when I was in my teens... my expertise having improved a lot in both art and uniforms, I can proudly write that the original is even better then the copy. But this we have learned to know as adults... #museemontmartre #vandongen you’re not supposed to take pictures. I did 🛑 after this one. Great show with many ... original paintings. Highly recommended 🤓 (à Musée de Montmartre)

[detournementsmineurs]

“Woman on a Sofa” by Kees Van Dongen, circa 1930.

[tildma]

VAN DONGEN ET LE BATEAU LAVOIR ou l’excuse pour venir flâner sur la butte ! 

L’exposition retrace le parcours de Van Dongen autour de son année au bateau lavoir. Année qui scella son courant artistique, le fauvisme.  De manière chronologique, l’exposition, nous montre comment sa bande d’artistes (Van Rees, Vlaminck, Derain, Matisse, Picasso) va influencer ses peintures et comment chacun s’inspirant de l’autre tire le meilleur de son art. 

Evidement on adore ce musée, petit bijou sur la butte Montmartre, où nous pouvons flâner, prendre le thé et s’allonger à côté des vignes à rêvasser d’être au début du 20ème siècle, et à profiter de l’air encore frais du mois de mai.

Musée Montmartre 75018 PARIS Jusqu’au 26/08  Tous les jours 10-18H Tarifs : de 5,50 à 12€

[detournementsmineurs]

"Portrait de Fernande Olivier" pastel de Kees Van Dongen (1907) à l'exposition “Le Paris de la Modernité (1905-1925)” du Petit Palais, Musée des Beaux-Arts de la Ville de Paris, décembre 2023.

[everyroomatthemetmuseum]

Gallery 962: feeling this Kees van Dongen in particular #themet #metropolitanmuseum #lehmancollection #vandongen #seurat #matisse #gaugin (at The Metropolitan Museum of Art, New York)