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Two ducks came to visit me in my backyard. I gave them food - they modelled for me. Two ducks came to visit me in my backyard. I gave them food - they modelled for me.

Follow me tag. Special offer sign. Abstract liquid 3d shape. Vector

Follow me tag. Special offer sign. Abstract liquid 3d shape. Vector

Closeup shot of the beautiful Alpine forget-me-not blue flowers

Closeup shot of the beautiful Alpine forget-me-not blue flowers

Background with pansies

Sunshine background with pansies

Eat me, drink me

Tomatoes and tomato juice isolated on dark red background. Tomatoes and tomato juice isolated on dark red background

Conceptual hand writing showing Me Myself And I. Business photo showcasing selfish self-independent Taking responsibility of actio

Conceptual hand writing showing Me Myself And I. Business photo showcasing selfish self-independent Taking responsibility of actio

Conceptual hand writing showing Time For Me. Business photo text I will take a moment to be with myself Meditate Relax Happiness L

Conceptual hand writing showing Time For Me. Business photo text I will take a moment to be with myself Meditate Relax Happiness L

He Loves Me - He Loves Me Not!

A young woman is picking flower paddels!. A young woman is picking flower paddels!

1989 - 'Landscape + Diagonal', acrylic large painting on canvas, Dutch abstract art / colorful painting art on canvas -

'Abstract landscape with dark diagonal'a colorful large abstract painting on canvas for sale; - Dutch Abstract Expressionism art / Hollands Expressionisme, groot schilderij te koop / te huur - moderne schilderkunst van Fons Heijnsbroek, Nederlandse kunstenaar, Amsterdam. I painted this work in 1989 as an abstract composition of Dutch landscape elements - size of the original painting is 125 x 145 cm; it is for sale. This digital image of my art I placed here in high resolution on Flickr, in the public domain. I edited it digitally with great care for the hues, colors and texture of the original work. So it is available in free download, to use it for making your own fine quality art-print for at home on the wall if you like. A high resolution image for free download to print, in public domain / Commons, CC-BY. Please let me know in return when you do. Tell me if you like this specific work of mine. It gives me just a nice feeling to hear when one piece of my art is being enjoyed by other people. My mail is . kind regards, Contemporary Dutch painter-artist Fons Heijnsbroek, Amsterdam, The Netherlands. 'Abstract landscape with dark diagonal'a colorful large abstract painting on canvas for sale; - Dutch Abstract Expressionism art / Hollands Expressionisme, groot schilderij te koop / te huur - moderne schilderkunst van Fons Heijnsbroek, Nederlandse kunstenaar, Amsterdam. I painted this work in 1989 as an abstract composition of Dutch landscape elements - size of the original painting is 125 x 145 cm; it is for sale. This digital image of my art I placed here in high resolution on Flickr, in the public domain. I edited it digitally with great care for the hues, colors and texture of the original work. So it is available in free download, to use it for making your own fine quality art-print for at home on the wall if you like. A high resolution image for free download to print, in public domain / Commons, CC-BY. Please let me know in return when you do. Tell me if you like this specific work of mine. It gives me just a nice feeling to hear when one piece of my art is being enjoyed by other people. My mail is . kind regards, Contemporary Dutch painter-artist Fons Heijnsbroek, Amsterdam, The Netherlands.

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « rollerballs », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de superficie. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a « Reverso » translation). French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « rollerballs », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de superficie. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a « Reverso » translation)

He loves me, he loves me not

Bride with groom holds a camomile. Bride with groom holds a camomile

A Mexican - Tibetan Buddha rooftop in Puerto Vallarta, Jalisco, Mexico

Mural of Vajrasattva - Dorje Sempa - with Mexican Iconography Fly me round trip from Seattle to anywhere (especially Puerto Vallarta) to paint more murals. A mural mixing Mexican and Tibetan Buddhist iconography on a rooftop in Puerto Vallarta, Mexico, completed Jan 1, 2007. As a mixed image this is not, strictly speaking, an image of Vajrasattva, but Tibetan iconography with Mexican and international iconography in my own style. This is a buddha of purity and purification, part of the basic practices. It was painted as a present for the friends I stayed with there - Rossy and Ariel. It's approximately 7 ft by 7 ft square. It was painted on reinforced concrete. It is on the back of the enclosed staircase. Took a little over 3 days to paint - totally on the fly - no preliminary drawings - I just started painting. To the right of the skulls you will see a skeleton of my friend's dog, Breda. The colorful red section above is influenced by the local Huichol art. Ariel is a homegrown biologist - his company is "Wild Travellers" - he is an ethusiastic eco-tourguide, and conservationist of endangered species of turtles. He was voted the best tourguide by tourists in North Vallarta. This image stands in for a shrine. What I am trying to convey is that Buddhism can be a wholesome and creative influence on Mexican culture. "Rotoplas" on the black plastic container stands for the manufacturing technique - rotational plastic - it's a water filter and storage device - a cistern. -------------------- Mural de Vajrasatva - Dorje Sempa - Iconografía mexicana Vuele ida y vuelta me de Seattle a cualquier lugar (especialmente en Puerto Vallarta) para pintar murales más. Un mural y la mezcla mexicana iconografía budista tibetano en una azotea en Puerto Vallarta, Mexico, completada 1 de enero de 2007. Como una mezcla de imagen esto no es, estrictamente hablando, una imagen de Vajrasatva, pero tibetano iconografía mexicana e internacional con la iconografía en mi propio estilo. Se trata de un buda de la pureza y la purificación, la parte de las prácticas básicas. Se pintó como un regalo para los amigos que me quedé allí - Rossy y Ariel. Es de aproximadamente 7 pies por 7 pies cuadrados. Fue pintado en hormigón armado. Es en la parte posterior de la escalera cerrada. Tomó un poco más de 3 días a la pintura - totalmente en el momento - no hay dibujos preliminares - Acabo de empezar la pintura. A la derecha de los cráneos verá un esqueleto de mi amigo el perro, Breda. La sección anterior de color rojo se ve influida por el arte huichol. Ariel es un biólogo de la casa - su empresa es "Wild Viajeros" - que se trate de una visita ethusiastic ecológica y conservacionista de especies amenazadas de tortugas. Fue elegido como el mejor visita por los turistas en el norte de Vallarta. Esta imagen se encuentra en un santuario. Lo que estoy tratando de transmitir es que el budismo puede ser una sana y creativa influencia en la cultura mexicana. "Rotoplas" en el contenedor de plástico negro representa la técnica de fabricación - de rotación de plástico - es un filtro de agua y dispositivo de almacenamiento - una cisterna. Mural of Vajrasattva - Dorje Sempa - with Mexican Iconography Fly me round trip from Seattle to anywhere (especially Puerto Vallarta) to paint more murals. A mural mixing Mexican and Tibetan Buddhist iconography on a rooftop in Puerto Vallarta, Mexico, completed Jan 1, 2007. As a mixed image this is not, strictly speaking, an image of Vajrasattva, but Tibetan iconography with Mexican and international iconography in my own style. This is a buddha of purity and purification, part of the basic practices. It was painted as a present for the friends I stayed with there - Rossy and Ariel. It's approximately 7 ft by 7 ft square. It was painted on reinforced concrete. It is on the back of the enclosed staircase. Took a little over 3 days to paint - totally on the fly - no preliminary drawings - I just started painting. To the right of the skulls you will see a skeleton of my friend's dog, Breda. The colorful red section above is influenced by the local Huichol art. Ariel is a homegrown biologist - his company is "Wild Travellers" - he is an ethusiastic eco-tourguide, and conservationist of endangered species of turtles. He was voted the best tourguide by tourists in North Vallarta. This image stands in for a shrine. What I am trying to convey is that Buddhism can be a wholesome and creative influence on Mexican culture. "Rotoplas" on the black plastic container stands for the manufacturing technique - rotational plastic - it's a water filter and storage device - a cistern. -------------------- Mural de Vajrasatva - Dorje Sempa - Iconografía mexicana Vuele ida y vuelta me de Seattle a cualquier lugar (especialmente en Puerto Vallarta) para pintar murales más. Un mural y la mezcla mexicana iconografía budista tibetano en una azotea en Puerto Vallarta, Mexico, completada 1 de enero de 2007. Como una mezcla de imagen esto no es, estrictamente hablando, una imagen de Vajrasatva, pero tibetano iconografía mexicana e internacional con la iconografía en mi propio estilo. Se trata de un buda de la pureza y la purificación, la parte de las prácticas básicas. Se pintó como un regalo para los amigos que me quedé allí - Rossy y Ariel. Es de aproximadamente 7 pies por 7 pies cuadrados. Fue pintado en hormigón armado. Es en la parte posterior de la escalera cerrada. Tomó un poco más de 3 días a la pintura - totalmente en el momento - no hay dibujos preliminares - Acabo de empezar la pintura. A la derecha de los cráneos verá un esqueleto de mi amigo el perro, Breda. La sección anterior de color rojo se ve influida por el arte huichol. Ariel es un biólogo de la casa - su empresa es "Wild Viajeros" - que se trate de una visita ethusiastic ecológica y conservacionista de especies amenazadas de tortugas. Fue elegido como el mejor visita por los turistas en el norte de Vallarta. Esta imagen se encuentra en un santuario. Lo que estoy tratando de transmitir es que el budismo puede ser una sana y creativa influencia en la cultura mexicana. "Rotoplas" en el contenedor de plástico negro representa la técnica de fabricación - de rotación de plástico - es un filtro de agua y dispositivo de almacenamiento - una cisterna.

1990 - 'Piers of IJmuiden', large abstract landscape painting, Dutch Abstract colorful art on canvas A high resolution a

'Piers and harbor entrance of IJmuiden' - a colorful large abstract painting on canvas for sale; - Dutch Abstract art / Hollands Expressionisme, groot schilderij te koop / te huur - moderne schilderkunst van Fons Heijnsbroek, Nederlandse kunstenaar, Amsterdam. I painted this large work on canvas in bird's eye view of the Dutch port IJmuiden, The Netherlands. I made this painting on canvas in 1990 from sketches and memory images in my mind, made of the port of IJmuiden, a former fisher-harbor in the Netherlands. I liked to be standing on the long piers of the harbor for hours, far in the see. Size of the original painting on canvas is 125 x 145 cm; it is for sale. This digital image of my art I placed here in high resolution on Flickr, in the public domain. I edited it digitally with great care for the hues, colors and texture of the original work. So it is available to use it for making your own fine quality art-print for at home on the wall if you like. A high resolution art image for free download to print it, in the public domain / Commons, CC-BY. Please let me know in return when you do. Tell me if you like this specific work of mine. It gives me just a nice feeling to hear when one piece of my art is being enjoyed by other people. My mail is . kind regards, Contemporary Dutch painter-artist Fons Heijnsbroek, Amsterdam, The Netherlands. 'Piers and harbor entrance of IJmuiden' - a colorful large abstract painting on canvas for sale; - Dutch Abstract art / Hollands Expressionisme, groot schilderij te koop / te huur - moderne schilderkunst van Fons Heijnsbroek, Nederlandse kunstenaar, Amsterdam. I painted this large work on canvas in bird's eye view of the Dutch port IJmuiden, The Netherlands. I made this painting on canvas in 1990 from sketches and memory images in my mind, made of the port of IJmuiden, a former fisher-harbor in the Netherlands. I liked to be standing on the long piers of the harbor for hours, far in the see. Size of the original painting on canvas is 125 x 145 cm; it is for sale. This digital image of my art I placed here in high resolution on Flickr, in the public domain. I edited it digitally with great care for the hues, colors and texture of the original work. So it is available to use it for making your own fine quality art-print for at home on the wall if you like. A high resolution art image for free download to print it, in the public domain / Commons, CC-BY. Please let me know in return when you do. Tell me if you like this specific work of mine. It gives me just a nice feeling to hear when one piece of my art is being enjoyed by other people. My mail is . kind regards, Contemporary Dutch painter-artist Fons Heijnsbroek, Amsterdam, The Netherlands.

This tiny wants of 10mm liked me so much that he pose for me. This tiny wants of 10mm liked me so much that he pose for me.

Stop Bugging Me said this tiny grasshopper as he turned his back on me every time I tried to take his picture.

Two ducks visited me in my backyard, I gave them food - they modelled for me. Two ducks visited me in my backyard, I gave them food - they modelled for me.

Call me, call me

The image of the man's hand pressing on the buttons of the mobile phone. The image of the man's hand pressing on the buttons of the mobile phone

Cheerful tourist man secretary talking on wired vintage telephone of 80s, says hey you call me back

Cheerful tourist man secretary talking on wired vintage telephone of 80s, says hey you call me back

vintage slogan typography my favorite player calls me mom

vintage slogan typography my favorite player calls me mom

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « rollerballs », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de superficie. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned picture. (Sorry, it's a « Reverso » translation). French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « rollerballs », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de superficie. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned picture. (Sorry, it's a « Reverso » translation)

TWL.2000.60 Postcard, printed, cardboard, black text and image, white ground, Artists' Suffrage League cartoon illustrating a man trying to look after, feed and educate his children, man depicted seated on a chair holding a baby in one hand and stirring a cooking pot with the other, two other children to his left, slogans on papers and speech bubbles surrounding scene: 'TARIFF REFORM', 'FREE TRADE', 'POOR LAW REFORM UNEMPLOYMENT', 'WELSH DISESTABLISHMENT', 'BUDGET', 'FREE FEEDING', EDUCATE ME', printed inscription front (in speech marks): ''Why won't they let the Women help me?', Printed and Published by the Artists Suffrage League, 259 King's Road, Chelsea'. TWL.2000.60 Postcard, printed, cardboard, black text and image, white ground, Artists' Suffrage League cartoon illustrating a man trying to look after, feed and educate his children, man depicted seated on a chair holding a baby in one hand and stirring a cooking pot with the other, two other children to his left, slogans on papers and speech bubbles surrounding scene: 'TARIFF REFORM', 'FREE TRADE', 'POOR LAW REFORM UNEMPLOYMENT', 'WELSH DISESTABLISHMENT', 'BUDGET', 'FREE FEEDING', EDUCATE ME', printed inscription front (in speech marks): ''Why won't they let the Women help me?', Printed and Published by the Artists Suffrage League, 259 King's Road, Chelsea'.

Cardinal posing..

This female Cardinal seemed to pose for me. Reminds me of the cone head skit on SNL. This female Cardinal seemed to pose for me. Reminds me of the cone head skit on SNL.

1990 - 'Landscape & Window', large abstract landscape-painting on canvas; A high resolution art image free download to p

'Landscape & Window' - a large abstract landscape painting on canvas, with a window in the middle of the painting. I painted it in 1990 in acrylic paint. This abstract painting was an attempt to combine landscape view and the motive of window / screen / image in one painting - a Dutch contemporary landscape-painting in a sturdy and simple construction; size of the original painting on canvas is 125 x 145 cm; it is for sale. This digital image of my art I placed here in high resolution on Flickr, in the public domain. I edited it digitally with great care for the hues, colors and texture of the original work. A high resolution art image free download to print it well, in public domain / Commons, CC-BY. So it is available to use it for making your own fine quality art-print for at home on the wall if you like. Please let me know in return when you do. Tell me if you like this specific work of mine. It gives me just a nice feeling to hear when one piece of my art is being enjoyed by other people. My mail is . kind regards, Contemporary Dutch painter-artist Fons Heijnsbroek, Amsterdam, The Netherlands. 'Landscape & Window' - a large abstract landscape painting on canvas, with a window in the middle of the painting. I painted it in 1990 in acrylic paint. This abstract painting was an attempt to combine landscape view and the motive of window / screen / image in one painting - a Dutch contemporary landscape-painting in a sturdy and simple construction; size of the original painting on canvas is 125 x 145 cm; it is for sale. This digital image of my art I placed here in high resolution on Flickr, in the public domain. I edited it digitally with great care for the hues, colors and texture of the original work. A high resolution art image free download to print it well, in public domain / Commons, CC-BY. So it is available to use it for making your own fine quality art-print for at home on the wall if you like. Please let me know in return when you do. Tell me if you like this specific work of mine. It gives me just a nice feeling to hear when one piece of my art is being enjoyed by other people. My mail is . kind regards, Contemporary Dutch painter-artist Fons Heijnsbroek, Amsterdam, The Netherlands.

1990 - 'Dune-landscape in Ovals, acrylic large painting on canvas; A high resolution art image for free download to print, pu

'Abstract dunes in ovals' - an abstract Dutch landscape painting with oval forms I got from the dunes and the dune hollows. I painted this landscape in 1990 with acrylic paint. An attempt to combine landscape view and abstract forms, taken from the landscape to create a painting of Dutch contemporary landscape in an abstract-expressionist way; size of the original painting is 125 x 145 cm; the painting is for sale. This digital image of my art I placed here in high resolution on Flickr, in the public domain. I edited it digitally with great care for the hues, colors and texture of the original work. A high resolution art image free download to print it well, in public domain / Commons, CC-BY. So it is available, to use it for making your own fine quality art-print for at home on the wall if you like. Please let me know in return when you do. Tell me if you like this specific work of mine. It gives me just a nice feeling to hear when one piece of my art is being enjoyed by other people. My mail is . kind regards, Contemporary Dutch painter-artist Fons Heijnsbroek, Amsterdam, The Netherlands. 'Abstract dunes in ovals' - an abstract Dutch landscape painting with oval forms I got from the dunes and the dune hollows. I painted this landscape in 1990 with acrylic paint. An attempt to combine landscape view and abstract forms, taken from the landscape to create a painting of Dutch contemporary landscape in an abstract-expressionist way; size of the original painting is 125 x 145 cm; the painting is for sale. This digital image of my art I placed here in high resolution on Flickr, in the public domain. I edited it digitally with great care for the hues, colors and texture of the original work. A high resolution art image free download to print it well, in public domain / Commons, CC-BY. So it is available, to use it for making your own fine quality art-print for at home on the wall if you like. Please let me know in return when you do. Tell me if you like this specific work of mine. It gives me just a nice feeling to hear when one piece of my art is being enjoyed by other people. My mail is . kind regards, Contemporary Dutch painter-artist Fons Heijnsbroek, Amsterdam, The Netherlands.

Baby shows tongue

12 month old baby looking to me and shows me her tongue. 12 month old baby looking to me and shows me her tongue

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « rollerballs », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de superficie. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a « Reverso » translation). French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « rollerballs », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de superficie. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a « Reverso » translation)

Bulldozer treads creap past at an urban sprawl construction site.PLEASE EMAIL ME to let me know how you used my photograph. I would appreciate it very much!! THANKS. I appreciate your feedback! Please rate this image if you download it.

Two ducks came to visit me in my backyard. I gave them food - they modelled for me. Two ducks came to visit me in my backyard. I gave them food - they modelled for me.

Girl with flower

He loves me he loves me not. He loves me he loves me not

Happy me with me dog

Happy blond girl and her christmas thoughts. Happy blond girl and her christmas thoughts

Eat me, drink me

Tomatoes and tomato juice isolated on white background. Tomatoes and tomato juice isolated on white background

White flowers of Forget-me-not Myosotis arvensis, isolated on black background

White flowers of Forget-me-not Myosotis arvensis, isolated on black background

Will you marry me one line art. Continuous line drawing of box with an engagement ring and wedding rings, propose.

Will you marry me one line art. Continuous line drawing of box with an engagement ring and wedding rings, propose.

Blue flower of brunnera, forget-me-not, myosotis, isolated on white background

Blue flower of brunnera, forget-me-not, myosotis, isolated on white background

Wow, this is me. Surprised woman wearing striped casual style sweater pointing herself, feeling

Wow, this is me. Surprised woman wearing striped casual style sweater pointing herself, feeling

1990 - 'Landscape with Arches and Ovals', acrylic large painting, A high resolution art image in free download to print

'Landscape with arches and ovals', an abstract acrylic painting on canvas I painted in 1990. It became an abstract composition, built from some landscape sketches in the woods behind the Dutch dunes around Zandvoort on Sea, The Netherlands. The work has become a construction of trees, sky, lakes and roads - size of the original painting on canvas is 145 x 125 cm; for sale. This digital image of my art I placed here in high resolution on Flickr, in the public domain. I edited it digitally with great care for the hues, colors and texture of the original work. So it is available to use it for making your own fine quality art-print for at home on the wall if you like. A high resolution art image in free download to print, in the public domain / Commons, CC-BY. Please let me know in return when you do. Tell me if you like this specific work of mine. It gives me just a nice feeling to hear when one piece of my art is being enjoyed by other people. My mail is . kind regards, Contemporary Dutch painter-artist Fons Heijnsbroek, Amsterdam, The Netherlands. 'Landscape with arches and ovals', an abstract acrylic painting on canvas I painted in 1990. It became an abstract composition, built from some landscape sketches in the woods behind the Dutch dunes around Zandvoort on Sea, The Netherlands. The work has become a construction of trees, sky, lakes and roads - size of the original painting on canvas is 145 x 125 cm; for sale. This digital image of my art I placed here in high resolution on Flickr, in the public domain. I edited it digitally with great care for the hues, colors and texture of the original work. So it is available to use it for making your own fine quality art-print for at home on the wall if you like. A high resolution art image in free download to print, in the public domain / Commons, CC-BY. Please let me know in return when you do. Tell me if you like this specific work of mine. It gives me just a nice feeling to hear when one piece of my art is being enjoyed by other people. My mail is . kind regards, Contemporary Dutch painter-artist Fons Heijnsbroek, Amsterdam, The Netherlands.

Love me or love me not

Smiling woman wavering a daisy. Smiling woman wavering a daisy

Diagonal Raptor

This is Henna, the educational red tailed hawk at a wildlife rehabilitation center in Illinois. I was introduced to her when attending a picnic held for volunteers of a rescue group that I belong to. I tried taking this photo of her at a different angle. She was very patient with me and allowed me many photos. This is Henna, the educational red tailed hawk at a wildlife rehabilitation center in Illinois. I was introduced to her when attending a picnic held for volunteers of a rescue group that I belong to. I tried taking this photo of her at a different angle. She was very patient with me and allowed me many photos.

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « ballpoint », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de surface. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "ballpoint", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a « Reverso » translation). French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « ballpoint », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de surface. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "ballpoint", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a « Reverso » translation)

1990 - 'Abstract landscape with Sunlight', large abstract painting; artist Fons Heijnsbroek, The Netherlands - A high re

'Abstract landscape with Sunlight' - I painted this large Dutch (flat) landscape painting in 1990, an attempt to create a wide sense of flat landscape in abstract terms. Dutch polder-landscape can become easily an abstract construction, seen in bird's eye view from the air. This image was a similar construction, but seen in my head; size: 120 x 135 cm; the original painting is still for sale. This digital image of my art I placed here in high resolution on Flickr, in the public domain. I edited it digitally with great care for the hues, colors and texture of the original work. A high resolution art image free download to print it - in the public domain / Commons, CC-BY. So it is available to use it for making your own fine quality art-print for at home on the wall if you like. Please let me know in return when you do. Tell me if you like this specific work of mine. It gives me just a nice feeling to hear when one piece of my art is being enjoyed by other people. My mail is . kind regards, Contemporary Dutch painter-artist Fons Heijnsbroek, Amsterdam, The Netherlands. 'Abstract landscape with Sunlight' - I painted this large Dutch (flat) landscape painting in 1990, an attempt to create a wide sense of flat landscape in abstract terms. Dutch polder-landscape can become easily an abstract construction, seen in bird's eye view from the air. This image was a similar construction, but seen in my head; size: 120 x 135 cm; the original painting is still for sale. This digital image of my art I placed here in high resolution on Flickr, in the public domain. I edited it digitally with great care for the hues, colors and texture of the original work. A high resolution art image free download to print it - in the public domain / Commons, CC-BY. So it is available to use it for making your own fine quality art-print for at home on the wall if you like. Please let me know in return when you do. Tell me if you like this specific work of mine. It gives me just a nice feeling to hear when one piece of my art is being enjoyed by other people. My mail is . kind regards, Contemporary Dutch painter-artist Fons Heijnsbroek, Amsterdam, The Netherlands.

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « rollerballs », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de superficie. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a « Reverso » translation). French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « rollerballs », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de superficie. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a « Reverso » translation)

This tiny wants of 10mm liked me so much that he pose for me. This tiny wants of 10mm liked me so much that he pose for me.

Street roads map of the huitiÃ¨me, 8th arrondissement of Paris, France

Street roads map of the huitiÃ¨me, 8th arrondissement of Paris, France

Pansies bouquet

Pansies bouquet with swirls. Vector illustration

Follow me. White easter bunny on a green meadow

Follow me. White easter bunny on a green meadow

This snake was swimming slowly by the side of the lake, keeping an eye on me while I took it's picture. It didn't want to give up it's space and was holding its ground. He didn't want to swim across the lake to get away. See how he is smelling me with his forked tongue?. This snake was swimming slowly by the side of the lake, keeping an eye on me while I took it's picture. It didn't want to give up it's space and was holding its ground. He didn't want to swim across the lake to get away. See how he is smelling me with his forked tongue?

1990 - 'Abstract Composition with Oval Discs', large abstract painting; A high resolution art image in free download to

'Abstract composition with Oval Discs', a large painting on canvas I painted in 1990. This is one of my early large abstract paintings I painted in acrylic paint. It was my purpose to experience the difference between creating an abstract composition or painting an abstract landscape-painting in which influences of the landscape still remained visible in the work, despite the abstraction! The original painting size is 125 x 145 cm; it is for sale. This digital image of my art I placed here in high resolution on Flickr, in the public domain. I edited it digitally with great care for the hues, colors and texture of the original work. A high resolution art image free download to print it well, in the public domain / Commons, CC-BY. So it is available to use it for making your own fine quality art-print for at home on the wall if you like. Please let me know in return when you do. Tell me if you like this specific work of mine. It gives me just a nice feeling to hear when one piece of my art is being enjoyed by other people. My mail is . kind regards, Contemporary Dutch painter-artist Fons Heijnsbroek, Amsterdam, The Netherlands. 'Abstract composition with Oval Discs', a large painting on canvas I painted in 1990. This is one of my early large abstract paintings I painted in acrylic paint. It was my purpose to experience the difference between creating an abstract composition or painting an abstract landscape-painting in which influences of the landscape still remained visible in the work, despite the abstraction! The original painting size is 125 x 145 cm; it is for sale. This digital image of my art I placed here in high resolution on Flickr, in the public domain. I edited it digitally with great care for the hues, colors and texture of the original work. A high resolution art image free download to print it well, in the public domain / Commons, CC-BY. So it is available to use it for making your own fine quality art-print for at home on the wall if you like. Please let me know in return when you do. Tell me if you like this specific work of mine. It gives me just a nice feeling to hear when one piece of my art is being enjoyed by other people. My mail is . kind regards, Contemporary Dutch painter-artist Fons Heijnsbroek, Amsterdam, The Netherlands.

forget-me-not flowers in a vase on a dark background

forget-me-not flowers in a vase on a dark background

Word writing text Tell Me More. Business concept for Elaborate your business thoughts further for assistance written on Pink stick

Word writing text Tell Me More. Business concept for Elaborate your business thoughts further for assistance written on Pink stick

You cannot see me behind this bubble screen. You cannot see me but I can see you. You cannot see me behind this bubble screen. You cannot see me but I can see you.

Snapping Turtle

I spotted this large Snapping Turtle in the road about 75 yards ahead of me. It was up on it's legs walking around. I couldn't see the tail and I couldn't figure out what this strange animal was. When I got closer I could tell what it was. When I got closer it just settled down on the road and sat still watching me. I moved all around it taking photographs.

Two ducks came to visit me in my backyard. I gave them food - they modelled for me. Two ducks came to visit me in my backyard. I gave them food - they modelled for me.

Conceptual hand writing showing About Me. Business photo showcasing Personality Behavior Attitude Character Individual Etiquette M

Conceptual hand writing showing About Me. Business photo showcasing Personality Behavior Attitude Character Individual Etiquette M

He Loves Me, He Loves Me Not

Beautiful Young woman sitting in long grass plucking petals from daisy. Beautiful Young woman sitting in long grass plucking petals from daisy

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