Editing Kees van Dongen (section)

== Career ==
[[File:Kees van Dongen, c.1907-08, Portrait of Daniel-Henry Kahnweiler, oil on canvas, 65 x 54 cm.jpg|thumb|upright|''Portrait of Daniel-Henry Kahnweiler'' (''Portrait de Kahnweiler''), c.&nbsp;1907–08, oil on canvas, {{convert|65|x|54|cm|in|abbr=on}}, Musée du Petit Palais, Geneva]]
[[File:Tentoonstelling Kees van Dongen.ogv|upright=1.35|thumb|Kees van Dongen exhibition at the Museum Boijmans Van Beuningen in 1967]]
Van Dongen began to exhibit in Paris, and participated in the controversial 1905 [[Salon d'Automne]] exhibition<ref>[[Jonathan Jones (journalist)|Jones, Jonathan]]. [https://www.theguardian.com/culture/2002/oct/19/art ''Torso,'' also known as The Idol, Kees van Dongen (1905)"], ''[[The Guardian]]'', 19 October 2002. Retrieved 9 January 2009.</ref> 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 ''[[Fauvism|Fauves]]'' ('Wild Beasts') by art critic [[Louis Vauxcelles]].<ref name="Gil Blas, 17 October 1905">[http://gallica.bnf.fr/ark:/12148/bpt6k7522165g/f5.image Louis Vauxcelles, ''Le Salon d'Automne'', Gil Blas, 17 October 1905. Screen 5 and 6. Gallica, Bibliothèque nationale de France], {{ISSN|1149-9397}}</ref> 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]].<ref name="ebooks.adelaide.edu.au">Stein, Gertrude. ''[https://web.archive.org/web/20120404050640/http://ebooks.adelaide.edu.au/s/stein/gertrude/toklas/chapter2.html The Autobiography of Alice B. Toklas] '', Chapter 2.</ref>
He taught at the [[Académie Vitti]] in 1912.<ref>{{citation|ref={{harvid|Vitti, ??-??}} |title=Vitti, ??-??|publisher=University of Glasgow|work=The Correspondence of James McNeill Whistler |url=http://www.whistler.arts.gla.ac.uk/correspondence/people/biog/?bid=Vitti_1&initial=V|access-date=2017-07-17}}</ref>

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]], [[Madame Grès]] 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."<ref name="MNAM">[https://web.archive.org/web/20150909060446/http://mam.paris.fr/sites/default/files/editeur/Dossierp%E9dagogiqueVanDongen.pdf Dossier pédagogique, Service culturel, Musée d'Art Moderne de la Ville de Paris, Mars 2011]</ref> This remark is reminiscent of another of his sayings: "Painting is the most beautiful of lies".<ref name="MNAM" />

In 1957, [[Kay Thompson]] featured one of his paintings in her book ''Eloise in Paris''.

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 [[Bohemianism|bohemian]] eroticism of his first three decades of work.<ref>[https://books.google.com/books?id=-EoEAAAAMBAJ&dq=Brigitte+Bardot%2C+van+dongen&pg=PA89 ''A Lively Link to the 'Wild Beasts', van Dongen recalls spirited era'', LIFE magazine, Vol. 48, No. 5, Published by Time Inc., 8 Feb 1960], {{ISSN|0024-3019}}</ref>

From 1959, Kees van Dongen lived in [[Monaco]]. He died in his home in [[Monte Carlo]] in 1968.<ref>Clement (1994), p. 466</ref> An extensive collection of van Dongen's work is held by the [[New National Museum of Monaco]].<ref name='NNMM2'>{{cite web|title=Kees Van Dongen|url=http://www.nmnm.mc/en/expositions/villa-sauber/kees-van-dongen-latelier.html|work=Kees van Dongen L'Atelier|publisher=New National of Monaco|access-date=2 June 2013|url-status=dead|archive-url=https://web.archive.org/web/20130604115833/http://www.nmnm.mc/en/expositions/villa-sauber/kees-van-dongen-latelier.html|archive-date=4 June 2013}}</ref> His work was also part of the [[Art competitions at the 1932 Summer Olympics#Painting|painting event]] in the [[Art competitions at the 1932 Summer Olympics|art competition]] at the [[1932 Summer Olympics]].<ref>{{cite web|url=https://www.olympedia.org/athletes/920418 |title=Kees van Dongen |work=Olympedia |access-date=2 August 2020}}</ref>