Marthe Donas (October 26, 1885 – January 31, 1967) was a Belgian abstract and cubist painter and is recognized as one of the leading figures of Modernism. Donas worked under the pseudonyms Tour d'Onasky, Tour Donas and M. Donas.
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Through this international group of connections and with the help of Archipenko who intensely promoted Donas, she was able to have her work published in several leading art magazines of the time: the Dutch De Stijl and Mécano, the German Der Sturm, the Italian Noi and the Belgian Sélection. In these years, Donas started publishing her work under the pseudonyms 'Tour d'Onasky', 'M. Donas' and later exclusively 'Tour Donas' which disguised her gender. Especially cubist and abstract art were seen as too intellectual and rational for women.
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Donas soon became Lhote's pupil and started to adapt a cubist style in her own paintings.
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Super pop Sobre o Super pop Tudo em Foco. Retrieved on 2009-09-09. It was responsible for the Brazilian version of Desperate Housewives, Donas de Casa Desesperadas, series exhibited in 2007. Estréia de Donas de Casa Desesperadas dá 5 pontos à RedeTV! oFuxico. Retrieved on 2009-09-09.
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After the breakout of the First World War and the German invasion of Belgium, 4. August 1914, the Donas family fled to Goes, Netherlands. Soon after, Donas freed herself from the family pressure and moved with one of her sisters to Dublin. There, she continued perfecting her drawing, painting and print-making skills and followed a course in stained-glass art.
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GSM tower on the top of Donas hill View from the top of the GSM tower, overlooking the Gdańsk Bay and Hel Peninsula. The Donas hill is in Poland in the Pomerania region, within the borders of the City of Gdynia, in the Dabrowa district. Its height is 205.7 m. In March 1945, a battle took place between the Red Army and the Germans.
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At the end of the First World War, Donas returned to Paris and rented a studio at a studio complex at 26 Rue de Départ. The studio was previously occupied by Diego Riviera. Also, Piet Mondrian rented a studio in the same complex at that time. Donas joined the artist group Section d'Or which was revived after the war under the leading of Archipenko.
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The Mexican donas are similar to doughnuts, including the name; the dona is a fried-dough pastry-based snack, commonly covered with powdered brown sugar and cinnamon, white sugar or chocolate.
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Naturally, the exhibition was regarded as a very important event in contemporary art circuits and turned out to be an important networking event as well resulting in a Section d'Or- exhibition in Rome in 1922. Walden once again organized a big group exhibition at the Sturm gallery in January 1921 including twenty-four paintings of Donas and the work of Albert Gleizes, Jaques Villon, Louis Marcoussis, Julius Evola, Sonia Delaunay and again in April 1921 with five of her paintings and among other work by Chagall, Evola, Fischer, Gleizes and Klee. Walden continued supporting Donas by frequently featuring her in his exhibitions and publications until at least September 1925. At one of these exhibitions, Donas work was certainly bought by American artist Katherine Dreier.
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Due to her precarious financial situation Donas accepted the offer of an aristocratic lady to join her to the South of France in exchange for painting lessons. In spring 1917 she moved to Nice where she met the Ukrainian sculptor Alexander Archipenko. They developed not only an intensive collaboration in their artistic work but also an intimate personal relationship. Donas' paintings and drawings of that time show how skilfully she incorporated elements of Archipenko's sculpto-paintings in a highly personal way.
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In January 1920, she had founded the Societé Anonyme in New York together with Marcel Duchamp and Man Ray aiming to familiarize the American audience with the latest developments in European modern art. The Societé Anonyme showed Donas paintings and drawings alongside work by Campendonk, Klee, Schwitters, Molzahn and Stuckenberg (p. 152) in New York and later at a travelling group show at different other locations in the United States. Dreier continued to include Donas work in numerous group exhibitions until 1940.
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Donas and Henri moved back the Brussels in 1948. Her paintings from that period expressed a sense of innocence and humour, Donas herself called it "romantic with a Cubist tenor", found appreciation in exhibitions in Brussels and Antwerp. Starting from 1954, her paintings became again more abstract and finally entirely non-figurative starting from 1958 drawing inspiration from pure intuition. Around that period, she came into contact with Dutch gallerist Maurits Bilcke who promoted her work extensively in the 1960s.
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Marthe Gabrielle Donas grew up in Antwerp as the daughter of a prosperous French-speaking bourgeois family. On her own initiative, she enrolled at the Royal Academy of Fine Arts Antwerp at the age of seventeen. Her authoritarian father, however, did not support her wish to become a painter, preventing her from going to drawing class and exhibitions and would not allow her being in contact with other students and artists in Antwerp. Donas´ paintings at that time were confined to still lifes and portraits of her family and friend circle.
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At the age of forty-five, Marthe Donas got pregnant and gave birth to her daughter Francine in January 1931. After having moved around again for some years with her husband in search for an income, they returned to Ittre at the outbreak of the Second World War in the year 1939. Donas was now fully occupied with the household of Chateau Bauthier and the upbringing of her daughter, which proved not to be easy at her age. Significantly, when her daughter turned sixteen and independent, she started painting again.
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Most of Gdynia can be seen from Kamienna Góra ( asl) or the viewing point near Chwaszczyno. There are also two viewing towers, one at Góra Donas, the other at Kolibki. In 2015 the Emigration Museum opened in the city.
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In August 2007, Lucélia started playing Suzana Mayer in Donas de Casa Desesperadas, the Brazilian version of the Desperate Housewives, broadcast by RedeTV!. Her most recent role is as Luiz Inácio Lula da Silva's primary teacher in Lula, o filho do Brasil.
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She was happy that towards the end of her life, she was finally recognized as one of the great pioneers of the avant-garde. Marthe Donas died on 31 January 1967 in the company of her husband and her daughter in a nursing home in Audreignies, Belgium.
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The Societé Anonyme- collection, including Donas' work, has later been donated by Dreier to the Yale University and are still kept at the Yale University Gallery in New Haven. In the meantime, Donas continued working in Paris until she fell severely ill in the summer of 1921. The lack of savings forced her to leave her studio in Paris and return to her parents in Antwerp. In Antwerp, she must have been in contact with the Belgian art scene around Jozef Peeters seeing she participated prominently with twelve of her latest paintings and a portfolio of linocuts in a large-scale exhibition at El bardo on Sint- Jacobsmarkt in Antwerp in January 1922 organized by Peeters in the framework of the Second Congress for Modern Art.
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The themes in her works became more traditional, she painted mainly still lives and landscapes, and she moved away completely from cubism and abstraction. In April 1926 however, the gallery A La Vierge Poupine of Paul van Ostaijen and Geert Van Bruaene organized the first large-scale retrospective of Marthe Donas' oeuvre with seventy of her paintings. Through the renewal of her contacts in the avant-garde art scene in Belgium, Donas decided to move back into the city of Brussels at the beginning of 1927. Her work was admired by many of the Belgian artists though just a few knew about her cubist work at the beginning of the 1920s and she was rather seen as an up-and coming artist in Brussel.
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In the historical folklore of Sicily, Doñas de fuera (Spanish for "Ladies from the Outside"; Sicily was under Spanish rule at the time) were supernatural female beings comparable to the fairies of English folklore. In the 16th to mid-17th centuries, the donas de fuera also played a role in the witch trials in Sicily.
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Introduction by Curt Wittlin. There was as well an adaptation by an unknown author with some changes, also in Spanish, that was published in 1542, and that is known as Carro de las Donas.Meseguer, Juan. OFM El traductor del Carro de las donas, de Francisco Eximénez, familiar y biógrafo de Adriano VI. Hispania, XIX. 1959. p. 236.
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His head was smashed by a stone from a mangonel, operated, according to one source, by the donas e tozas e mulhers ("ladies and girls and women") of Toulouse.Chanson de la Croisade Albigeoise laisse 205. He was buried in the Cathedral of Saint- Nazaire at Carcassonne.Chanson de la Croisade Albigeoise laisse 206; Peter of les Vaux-de-Cernay, Historia Albigensis 615.
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Destouches was the daughter of Joseph Almansor and Gabrielle Donas Lucie Georgette Almansor. She was born on 20 July 1912 in the 5th arrondissement of Paris. Destouches married Louis-Ferdinand Céline on 15 February 1943 in the 18th arrondissement. During World War II Céline had collaborated with the Nazis in France; in September 1944 he and Lucette fled to Germany to escape punishment.
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From the United States, too, came interest in especially her early work after Katherine Dreier had donated the collection of the Société Anonyme's collection to the Yale University's gallery. Also in Belgium, the interest grew into the pioneers of abstraction of the early 20th century. German art historian Herta Wescher included her work in her book about collages. Due to this upcoming attention towards her Marthe Donas started composing her autobiography.
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The line was expanded in 1952 with the production of the Donas del Osito (Bear Cub Doughnuts) started, along with a new line of buns: Bimbollos, Medias Noches and Colchones. In 1949 the first depot outside Mexico City was inaugurated in the city of Puebla. In 1956, the Bimbo Occidente plant in Guadalajara started operations, with Roberto Servitje as its first General Manager. Four years later the Bimbo del Norte plant was inaugurated in the city of Monterrey, Nuevo León.
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Her paintings started developing away from the geometric abstraction towards a more figurative style. Due to her weak health however, Donas and Franke permanently moved back to Belgium in July 1923. They settled in Ittre, a small village in Walloon Brabant where part of Franke's family lived already. Even though, her work appeared at several exhibitions in Brussels, Berlin and Paris, she was not very well known in Belgium and did not enjoy the fame she received in her years in Paris.
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Théophile Gautier wrote of the model (Le Moniteur Universel, 13 May 1863) that "the general arrangement becomes intelligible to all eyes and already acquires a sort of reality that better permits one to prejudge the final effect ... it attracts the crowd's curiosity; it is, in effect, the new Opéra seen through reversed opera glasses."Mead 1991, p. 303. The model is now lost, but it was photographed by J. B. Donas in 1863. The emperor's quadrigae were never added, although they can be seen in the model.
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Infanta Maria of Portugal (Coimbra, 21 November 1264 - Coimbra, 6 June 1304; ) was a Portuguese infanta (princess) daughter of King Afonso III of Portugal and his second wife Beatrice of Castile. Maria was born on 21 November 1264 in Coimbra and was for the majority of her life a nun in the Convent of the Lady Canons of Saint John (Convento das Donas Cónegas de São João), near the Monastery of Santa Cruz of Coimbra. She died in the same city on 6 June 1304.
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Other names also abound, however, such as the Sicilian Donas de fuera ('ladies from outside'), or French bonnes dames ('good ladies'). In the Finnic-speaking world, the term usually thought most closely equivalent to elf is haltija (in Finnish) or haldaja (Estonian). Meanwhile, an example of an equivalent in the Slavic- speaking world is the vila (plural vile) of Serbo-Croatian (and, partly, Slovene) folklore. Elves bear some resemblances to the satyrs of Greek mythology, who were also regarded as woodland-dwelling mischief-makers.
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"New cabinet sworn in", LENA, 23 June 2017. He is also known as "Mahaletere" because of his halter-like beard and mustache. He is famous for a short video clip, that went viral, where he continuously kept say “Leqe” during a press conference. He was describing to a journalist what should happen when international donas give Lesotho money, he insinuated that it should be “chowed” and after it is depleted ask for more. The phrase “Leqe Leqe” means to “spoil” yourself with money that was donated to the country.
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The Order of Santiago operated convents, both male and female. Aside from the convents for friars of Uclés and San Marcos (León), the Order had other convents in Vilar de Donas (a church in Palas de Rei, Lugo), Palmela (Portugal), Montánchez (Cáceres), Montalbán (Teruel) and Segura de la Sierra (Jaén). Monastery of Uclés, parent headquarters of the order, Cuenca Province, Spain In 1275, the Order also had six convents for nuns, who called themselves the Mothers Superior. The wives and family of the friars could stay there when they went to war or died.
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During his high school career, Dischinger earned all-state honors in basketball, while being coached by Willard Kehrt, and in football and track, being coached by his father, Donas Dischinger. As a high school freshman, he was a member of Terre Haute's 1955 Babe Ruth League world championship baseball team. He was also a member of Garfield High's 1955 IHSAA Sectional Championship team; this was the deepest run Garfield would make during his high school career. City rival, Terre Haute Gerstmeyer Tech, was the main opposition to Garfield during Dischinger's career.
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Subsequently, a major Donas exhibition at the Schleiper gallery in Brussels was organized by the Bilckes in October 1961. This exhibition was a big success and received a lot of attention internationally by art critics and fellow artists alike. Maurits Bilcke further promoted her work and made sure it was included in important collections. In the 1960s, her work was purchased by the ministry of Belgium, the Museum of Fine Arts in Brussels, the Francophone Section of the Ministry of Education and the Royal Museum of Fine Arts in Antwerp.
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Despite being rich in neutral atomic hydrogen (HI), NGC 3883 is very red and has a low amount of H-alpha emission. This suggests the star formation in the galaxy ended a long time ago while the inner regions continued to form stars that enriched the interstellar medium (ISM) and eventually used up the remaining gas. Possibly, the outer regions of NGC 3883 went through only a few generations of star formation because the HI density has been low throughout the galaxy's life. However, J. Donas et al.
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During the Crusaders' counter-assault, Simon stopped to aid his brother Guy, who had been wounded by a crossbow, and was hit on the head by a stone from one of the defenders' siege engines (either the trebuchet or a mangonel), apparently operated by donas e tozas e mulhers (ladies, girls, and women). It killed him. The leadership of the Crusade fell to his son Amaury, but the siege was lifted a month later. The events of the siege prompted the resident troubadour (and possibly priest) Raimon Escrivan to compose a song, Senhors, l'autrier vi ses falhida, on it.
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Trying to make contact with the London art scene, as recommended by Van Doesburg, she met up with among other the Sitwells, C.R.W. Nevison, Jacob Epstein and Douglas Goldring. Although little is known about the details, her relationship with Archipenko must have come to an end at this point. Her work, too, developed further abstract and in line with the purist ideas of Amedeé Ozenfant and Le Corbusier with which she came in contact through the magazine L'Esprit Nouveau and through Van Doesburg and De Stijl. Donas returned to her studio in Paris in autumn 1920.
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The church of Vilar de Donas stands out as one of the main references of Galician Romanesque, declared in 1931 historical-artistic monument. Its murals are some of the most outstanding and best preserved in Galicia. The "Lucus Augusti" route passed through this area, and already in the sixth century was it confirmed as a part of the county of "Ulliensis", being the Middle Ages a period of prosperity for the town, thanks to the Camino de Santiago. The "Codex Calixtino" quoted Palas as an obligatory stop for the pilgrims to face the last stretches of the Jacobean route.
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The Tsakona Arch Bridge, with a length of 490 meters, was the last work that remained for the section Paradeisia – Tsakona axis Tripolis – Kalamata to be completed (made by the State and will be delivered to the consortium Moreas). As stated in the "Courage" by the project leader Nikos Donas, this bridge was one of the most difficult engineering projects, after the Charilaos Trikoupis Bridge. The project's cost was budgeted at €94 million but there were significant cost overruns. This was due largely to the complexity of building in the very challenging and unstable geologic conditions at the site.
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His works include a sentimental, semi-chivalresque romance called Siervo libre de amor (1439), the moralistic treatise Cadira de Honor (1440), and another sentimental romance called Triunfo de las donas (1445), the latter of which includes 40 feminist arguments meant to counter the misogyny of the work known as the Corbacho, by Alfonso Martinez de Toledo. Rodríguez's work presents arguments for the superiority of women to men.Declamation on the Nobility and Preeminence of the Female Sex by Henricus Cornelius Agrippa, 1529 Some additional romances are attributed to him; these include Conde Arnaldos and Rosa florida. Also attributed to him is the Bursario, a partial translation of Ovid's Heroides.
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For nouns, there are no cases, genders, or articles. The plural ends in -s, which unlike in French is pronounced. Augmentatives take -le (-lé), diminutives -li: :manou a house, manoule (manoulé) a mansion, manouli a hut; :filo a boy, filole, filoli. Deverbals end in -ou: :donou a gift (donas to give), vodou will (vodas to want), servou service (servas to serve) Prepositions are used: :bi manou of the house, bu manou to the house, de manou from the house, po manou through the house It would seem there is no distinction between adjective and adverb, and adjectives do not agree in number with the noun.
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The church of San Martiño today San Martiño de Pazó (formerly Pazóo, and in ) is a parish (parroquia) in the east of the municipality (concello) of Allariz in the province of Ourense in Galicia, Spain. In the early Middle Ages, there was a convent dedicated to Saint Martin of Dumio, the town's namesake, at Pazó, which itself refers to the living quarters, the "pazo of the ladies", that is, Ô Pazo das Donas or El Palacio de las Dueñas. A disbute of the abbess Guntroda, kinswoman of the powerfula magnate Rodrigo Velásquez, led to a brief civil war in the mid-tenth century. Guntroda was succeeded by her relative Ilduara.
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In the second part, Martínez applies his arguments against earthly love to a criticism of women in general, repeating such stock arguments, for example, that women are the source of man's perdition. Martínez's chapter titles alone indicate only too well his opinions on the opposite sex: “How a woman is jealous of anyone more beautiful than she,” “How a woman is disobedient,” “How a woman lies even while under oath,” “How a man should watch out for a drunken woman,” “How a woman loves whomever she pleases regardless of age.”Arcipreste de Talavera o Corbacho - Biblioteca Virtual Miguel de Cervantes Juan Rodríguez de la Cámara's Triunfo de las donas (1445) includes 40 feminist arguments meant to counter the misogyny of Martínez's Corbacho. Rodríguez's work presents arguments for the superiority of women to men.
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She also exhibited her work together with among other Gleizes, Férat, Villon, Nathalie Gontcharowa, Léger, Braque, Irène Lagut, Archipenko and R. Duchamp in the Section d'Or-exhibitions in Paris in Galerie La Boétie and successively at different locations in the Netherland organized by Theo van Doesburg with whom she had become close friends. Donas visited him and his wife Lena Milis in Leiden during late spring 1920 to oversee the transportation of art works and to attend the opening in Rotterdam of the Section d'Or-exhibition. After her stay in the Netherlands, she went to visit her parents in Antwerp aiming to improve her financial situation by painting portraits of Jewish family friends. Following other commissions, which she all painted in a very traditional style and though herself to be conventional (Buch s. 129), she went to London in the late summer of 1920.
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For a female artists to work under a male pseudonym secured considerably more respect within the art world, a higher chance of promotion and thus of commissions and sales. The network she had built up in Nice and Paris made one of her first participations in a mayor exhibition possible: The Exhibition of French Art 1914-19 in London compiled by Léopold Zborowski in which she was present with seven of her paintings alongside work by Friesz, Vlaminck, Derain, Matisse, Picasso, Modigliani, Valadon, Kisling, Léger, Lhote, Utrillo and Dufy. Archipenko continued promoting Donas' work internationally which lead to solo-exhibitions in Librairie Kundig in Geneva in December 1919 and the famous avant-garde gallery Der Sturm of Herwarth Walden in Berlin in Summer 1920 which would turn out to be the most important exhibitions in her entire career. Herwarth Walden most likely purchased many of her work which meant being recognized by one of the most influential dealers of that period.
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In the following years, she was featured in a number of important exhibitions among them The First Abstract Artists in Belgium: Tribute to the Pioneers in 1959 in Antwerp, Salon de femmes peintre et sculpteurs at the Musée d'Art Moderne de la Ville Paris, a big overview of solely her work in two rooms at the Palais de Beaux-Arts in Brussels, both in 1960, and an exhibition dedicated to the influence of Herwarth Walden and his gallery Der Sturm at the Nationalgallerie in Berlin in 1961 alongside Archipenko, Chagall, Delaunay, Gleizes, Goncharova, Jawlenksy, Kandinsky, Klee, Kokoschka, Léger, Macke, Marc, Schwitters and Severini. Being included with these artists which have by then been acknowledged as the important avant-gardists of the 20th century, must have been especially gratifying for Donas. While her work finally was internationally recognized, her health was declining and again she had financial struggles. She was forced to sell the majority of her work to Maurits and Suzanne Bilcke.
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An illustration of the Cantigas de Santa Maria (13th century) During the 14th and 15th centuries, the progressive distancing of the kings from Galician affairs left the kingdom in the hands of the local knights, counts and bishops, who frequently fought each other to increase their fiefs, or simply to plunder the lands of others. At the same time, the deputies of the Kingdom in the Cortes stopped being called. The Kingdom of Galicia, slipping away from the control of the King, responded with a century of fiscal insubordination. Gothic painting at Vilar de Donas' church, Palas de Rei On the other hand, the lack of an effective royal justice system in the Kingdom led to the social conflict known as the Guerras Irmandiñas ('Wars of the brotherhoods'), when leagues of peasants and burghers, with the support of a number of knights, noblemen, and under legal protection offered by the remote king, toppled many of the castles of the Kingdom and briefly drove the noblemen into Portugal and Castile.
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