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 :. | Cosmic Sun | Composition VI (on black fond). | River landscape with steeple and mill. | Composition. | Dune landscape. |
Related Artists:
John Frederick Peto
1854-1907 John Frederick Peto Gallery John Frederick Peto (May 21, 1854 ?C November 23, 1907) was an American trompe l'oeil ("fool the eye") painter who was long forgotten until his paintings were rediscovered along with those of fellow trompe l'oeil artist William Harnett. Although Peto and the slightly older Harnett knew each other and painted similar subjects, their careers followed different paths. Peto was born in Philadelphia, Pennsylvania, and studied at the Pennsylvania Academy of the Fine Arts at the same time as Harnett.[1] Until he was in his mid-thirties, he submitted paintings regularly to the annual exhibitions at the Philadelphia Academy. In 1889, he moved to the resort town of Island Heights, New Jersey, where he worked in obscurity for the rest of his life. He and his wife took in seasonal boarders, he found work playing cornet at the town's camp revival meetings, and he supplemented his income by selling his paintings to tourists.[2] He never had a gallery exhibition in his lifetime.[3] Harnett, on the other hand, achieved success and had considerable influence on other artists painting in the trompe l'oeil genre, but even his paintings were given the snub by critics as mere novelty and trickery. Both artists were masters of trompe l'oeil, a genre of still life that aims to deceive the viewer into mistaking painted objects for reality. Exploiting the fallibility of human perception, the trompe l'oeil painter depicts objects in accordance with a set of rules unique to the genre. For example, Peto and Harnett both represented the objects in their paintings at their actual size, and the objects rarely were cut off by the edge of the painting, as this would allow a visual cue to the viewer that the depiction was not real. But the main technical device was to arrange the subject matter in a shallow space, using the shadow of the objects to suggest depth without the eye seeing actual depth. Thus the term trompe l'oeil??"fool the eye." Both artists enthrall the viewer with a disturbing but pleasant sense of confusion. Letter Rack by PetoPeto's paintings, generally considered less technically skilled than Harnett's,[4] are more abstract, use more unusual color, and often have a stronger emotional resonance. Peto's mature works have an opaque and powdery texture which is often compared to Chardin.[5] The subject matter of Peto's paintings consisted of the most ordinary of things: pistols, horseshoes, bits of paper, keys, books, and the like. He frequently painted old time "letter racks," which were a kind of board that used ribbons tacked into a square that held notes, letters, pencils, and photographs. Many of Peto's paintings reinterpret themes Harnett had painted earlier,[6] but Peto's compositions are less formal and his objects are typically rustier, more worn, less expensive looking.[7] Other artists who practiced trompe l'oeil in the late nineteenth century include John Haberle and Jefferson David Chalfant. Otis Kaye followed several decades later. A pioneering study of Peto and Harnett is Alfred Frankenstein's After the Hunt, William Harnett and Other American Still Life Painters 1870-1900. Frankenstein's book itself is a fantastic tale of solving the mystery of why these artists were forgotten for much of the twentieth century.
Garneray Ambroise
French Artist , Paris 1783-1857 French corsair, painter and writer. He served under Robert Surcouf and Jean-Marie Dutertre, and was held prisoner by the British for eight years. Garneray was born in Paris (on Rue Saint-Andre-des-arts, in the Latin Quarter) on February 9, 1783. He was the elder son of Jean-Francois Garneray (1755 - 1837), painter of the king, who was pupil of Jacques-Louis David. At thirteen, he joined the Navy as a seaman, encouraged by his cousin, Beaulieu-Leloup, commander of the frigate Forte ("the Stout one"). Garneray sailed from Rochefort to the Indian Ocean with the frigate division under Sercey, to which the Forte belonged. Garneray took part in the various campaigns of Sercey division and witnessed the hardship it met in the battle against Arrogant and Victorious. He then served in 1798 on the corvette Brule Gueule ("Mouth burner"), which patrolled with the frigate Preneuse ("the Taker"). Returning from this campaign, the Brule Gueule and Preneuse were chased by a British squadron comprising two ships of the line, one frigate and one corvette; the French flew into a creek near Black River whose shallow waters prevented the British from pursuing. The next day, the British squadron attacked; the French had established strong defensive positions by installing the unusable batteries of their ships ashore, and repelled the British squadron. In 1799,
Henry Reuterdahl
American, 1871-1925 He was best known for his paintings of Navy warships and recruiting posters for World War