Dutch 1883-1931 Dutch painter, architect, designer and writer. He was officially registered as the son of Wilhelm Kepper and Henrietta Catharina Margadant, but he was so convinced that his mother second husband, Theodorus Doesburg, was his father that he took his name. Little is known of his early life, but he began painting naturalistic subjects c. 1899. In 1903 he began his military service, and around the same time he met his first wife, Agnita Feis, a Theosophist and poet. Between about 1908 and 1910, much influenced by the work of Honor Daumier, he produced caricatures, some of which were later published in his first book De maskers af! (1916). Also during this period he painted some Impressionist-inspired landscapes and portraits in the manner of George Hendrik Breitner. Between 1914 and 1915 the influence of Kandinsky became clear in such drawings as Streetmusic I and Streetmusic II (The Hague, Rijksdienst Beeld. Kst) and other abstract works.  Related Paintings of Theo van Doesburg :. | Stained-Glass Composition IV. | Ornamentrand | Potrait of Evert Rinsema | Landscape | Gemberpot met chrysanten |
Related Artists:
Christine de Pisan
French poet and arguably the first female author. 1364-1430 French writer. She was the daughter of an astrologer to Charles V and the wife of a court secretary and took up writing to support her children when she was widowed, producing 10 volumes of graceful verse, including ballads, rondeaux, lays, and complaints, many in the courtly-love tradition. Some works, both poetry and prose, champion women, notably The Book of the City of Ladies (1405).
ulrika eleonora
Ulrika Eleonora d.y., född 23 januari 1688, död 24 november 1741, var regerande drottning av Sverige 1719-1720, dotter till Karl XI och Ulrika Eleonora av Danmark, syster till Karl XII samt kusin till August den starke, Fredrik IV av Danmark och Fredrik IV av Holstein-Gottorp. Hon gifte sig 24 mars 1715 med Fredrik av Hessen, den blivande Fredrik I, men förblev barnlös. Ulrika Eleonora föddes den 23 januari 1688 på Stockholms slott som dotter till kung Karl XI och Ulrika Eleonora d.ä. Under barndomen förbisågs hon av alla för sin äldre, livligare och mera begåvade syster Hedvig Sofia. Så snart hon blivit giftasvuxen fick hon många friare, bland andra blivande Georg II av Storbritannien och arvprins Fredrik av Hessen-Kassel. Redan 1710 begärde denne hennes hand, men deras trolovning tillkännagavs inte förrän den 23 januari 1714. Bilägret firades den 24 mars 1715. Under Karl XII:s vistelse utomlands var hon, efter Hedvig Sofias död (1708), den enda myndiga medlemmen av kungahuset inom riket om man borträknar hennes åldriga farmor (Hedvig Eleonora). I slutet av 1712 eller början av 1713 hade Karl XII tankar om att göra sin syster Ulrika Eleonora till regent, men fullföljde inte denna plan. Det kungliga rådet däremot övertalade henne att bevista dess sammanträden för att i henne erhålla ett stöd. Första gången hon infann sig i rådet, 2 november 1713, beslöts också om sammankallande av en riksdag. Det s.k. rörelsepartiet vid denna riksdag ville att prinsessan i kungens frånvaro skulle göras till riksföreståndarinna "såsom närmaste arvinge till kronan och regementet". Detta förslag motarbetades av Arvid Horn och rådet, som fruktade att svårigheterna för en ändring av regeringssättet därigenom skulle ökas. Prinsessan visade emellertid ständerna stort intresse för landets angelägenheter. I sina brev till kungen uppmanade hon honom att återvända hem och varnade honom för möjliga följder av hans frånvaro. Med hans samtycke undertecknade hon under den följande tiden alla rådets skrivelser, utom dem som var ställda till honom, för i sin egenskap av vice regent var hon ett med kungen enligt dennes uppfattning. Mera sällan deltog hon i rådets förhandlingar.
Giambattista Tiepolo
1696-1770 Italian painter, master of Venetian school. Tiepolo was famous in his own lifetime as a superb painter in fresco and a brilliant draftsman. A highly inventive artist, he could create spectacular effects in difficult sites, from the narrow gallery at the patriarchal palace at Udine in the mid-1720s to the vast staircase ceiling in the Residenz at Werzburg in the early 1750s. Contemporaries recognized his spirited, dynamic approach to subject matter and his frankly sensuous manner of painting. Tiepolo is comparable in his restless energy and imaginative power to Peter Paul Rubens, and essentially he worked with a similar baroque language of myth, allegory, and history, which he infused with a sense of freshness and modernity. His approach to religious art is characterized by candor and naturalism, while he was responsive to the different concerns of patrons and viewers at a time when the church was faced with new kinds of devotion and criticism. With the advent of neoclassicism, Tiepolo's art fell from favor: In an age that prized archaeological correctness, rationality, and ideals of improvement, his witty, Veronese-inspired conception of historical or classical subjects seemed frivolous, while his visually seductive qualities were seen as inimical to the serious intellectual aims of the new art. Nevertheless, his drawings and oil sketches continued to appeal to collectors, including Antonio Canova. The son of a Venetian shipping merchant, Tiepolo was apprenticed in 1710 to Gregorio Lazzarini (1655C1730), an artist of international reputation patronized by prominent Venetian families. Before becoming an independent master, he worked in the household of Doge Giovanni Corner; members of the Corner family were to be his most steadfast and liberal patrons. Lazzarini encouraged his pupils to study Venetian sixteenth-century art, and Tiepolo made drawings of some famous works for publication in Domenico Lovisa's Gran Teatro di Venezia of 1717. His early involvement with the thriving Venetian engraving and publishing world was renewed in 1724 when he made drawings of antique sculpture as illustrations for Scipione Maffei's Verona Illustrata, an experience that gave Tiepolo an imaginative empathy with fragmentary antique remains, which recur in his drawings, etchings, and paintings. As well as studying the art of the past, Tiepolo looked to the tenebrism of Federico Bencovich (1677C1753) and the realism and monumentality of Giovanni Battista Piazzetta (1682C1754). In 1719 Tiepolo married Cecilia Guardi, with whom he was to have nine children. By then, the artist was working for a network of mercantile and noble patrons on religious and secular subjects.