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Born in Queens, New York, on July 9, 1962, Jordan Belfort had a natural talent as a salesman at an early age, operating a meat and seafood business in the 1980s. After that company went bust, Belfort began selling stocks in 1987. He was running his own investment operation, Stratton Oakmont, by 1989. The company made millions illegally, defrauding its investors. The Securities Exchange Commission began efforts to stop the company's errant ways in 1992. In 1999,

Belfort pleaded guilty to securities fraud and money laundering. He was sentenced in 2003 to four years in prison, but only served 22 months. Belfort published his first memoir, The Wolf of Wall Street, in 2008. The following year, he released Catching the Wolf of Wall Street.

Early Life and Career

Born on July 9, 1962, in Queens, New York, Jordan Ross Belfort became infamous for his role in swindling millions of dollars from investors in the 1990s through his investment firm, Stratton Oakmont. The son of an accountant, Belfort grew up in a modest apartment in Queens. A natural salesman, he eventually launched a business selling meat and seafood, but the company soon went belly up.

In 1987, Belfort put his sales skills to use in a different arena. He started working for a brokerage firm, learning in the ins and outs of being a stock broker. Two years later, Belfort was operating his own trading company, Stratton Oakmont.

'The Wolf of Wall Street'

With his partner, Danny Porush, Jordan Belfort raked in cash using a "pump and dump" scheme. His brokers pushed stocks onto their unsuspecting clients, which helped inflate the stocks' prices, then the company would sell off its own holdings in these stocks at a great profit.

Awash with cash, Belfort lived the high life. He spent lavishly, buying a mansion, sports cars and other expensive toys. He also developed a serious drug habit, becoming especially fond of Quaaludes. Belfort was involved in several accidents due to his drug use, including crashing his helicopter into his own yard and sinking his yacht—which once belonged to designer Coco Chanel—while under the influence. His addiction also contributed to the break-up of his second marriage.

Belfort encouraged reckless behavior in his employees, as well. Substance abuse, sex and horseplay were the norm at Stratton Oakmont's Long Island, New York, offices. An assistant at the firm was once paid $5,000 to allow some of the company's traders to shave her head. The employees were also urged to live by the motto, "Don't hang up until the customer buys or dies." Their hard-sell tactics paid off in the short term. As Belfort told the New York Post, "It's easier to get rich quick when you don't follow the rules."
Trouble with the Law
The U.S. Securities and Exchange Commission sought to end Stratton Oakmont's shady stock operation in 1992, claiming that the company had defrauded investors and manipulated stock prices. Two years later, Belfort found himself out of the brokerage business. Stratton Oakmont had reached a settlement with the SEC, which included a lifelong ban from working in the securities industry for Belfort and a fine for the company.

More legal woes followed for Belfort and his company. The National Association of Securities Dealers ejected Stratton Oakmont from its association in 1996, and the company was ordered to be liquidated to pay off its numerous fines and settlements the following year. In 1999, Belfort pleaded guilty to securities fraud and money laundering. He cooperated with authorities in an effort to shorten his prison sentence.
In 2003,
Belfort was sentenced to four years in prison and personally fined $110 million. He served 22 months in jail, where he developed an interest in writing. Comedian Tommy Chong, one of Belfort's cellmates during this time, encouraged the former stockbroker to write about his experiences.

Life After Prison
In 2008, Jodran Belfort published his memoir, The Wolf of Wall Street, using one of his nicknames as the title. The book explored his meteoric rise and explosive crash in the financial world. The following year, Belfort released a second memoir, Catching the Wolf of Wall Street, which detailed his life after his arrest. In 2013, a film adaptation of The Wolf of Wall Street, directed by Martin Scorsese and starring Leonardo DiCaprio as Belfort, hit the big screen.

These days, Belfort lives in Los Angeles, California, to be close to his two children, Chandler and Carter, from his second marriage. He now operates his own company, which provides sales training and markets Straight Line training programs aimed at building wealth. Belfort claims to have straightened up his act. In an interview with the Daily Mail, he explained, "I'm a wolf who became a more benevolent character." Belfort has reportedly paid $14 million of the $110 million fine against him.

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Beautiful Romantic Images Biography

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In the early 19th century the Age of Reason gave way to the age of the imagination and the Romantic Movement.

Young artists, writers, poets and dancers wanted the freedom to express themselves in a spontaneous and individual way. Rejecting the classical ideas of order, harmony and balance they turned to nature as a source of inspiration. As people left the countryside and agriculture for the growing urban industries and factory work, the Romantic vision was partly a plea for a return to a ‘natural’ life and partly escapism.

Although most ballets were created by men, the male dancer was no longer an equal star. In the following decades dance became an unacceptable career for a man. Male roles were often taken by women dressing en travestie. Men only appeared in character roles.


Print of Fanny Elssler, colour lithograph, about 1836
Print of Fanny Elssler, colour lithograph, about 1836
The cult of the ballerina
By the 1840s women had become the great ballet stars and ballerinas wore the familiar bell shaped dress with cap sleeves, low cut bodice and long skirts. If you look at fashion plates of the period you can see that costumes developed from fashionable dress of the time. Ballerinas also learned the art of dancing on the very tips of their toes, known as pointe work. There were no stiffened pointe shoes and dancers darned the toes of their slippers to give additional support.

The great Romantic ballerinas were idolised throughout Europe. Marie Taglioni (1804 - 1884) danced in Paris, St Petersburg, London and Italy and Fanny Elssler (1810 - 1884) even toured North America. The rivalry between Elssler and Taglioni and their supporters was intense although they had very different styles.

Elssler was fiery, exotic and sexy, while Taglioni excelled in creating unearthly, spiritual characters. Theophile Gautier, a ballet critic and an Elssler fan, snidely described Taglioni as a Christian dancer (implying she was rather cold), while he proclaimed that Elssler was a pagan dancer (implying that she was sexy).

One of  Elssler's most famous dances, was the cachucha. Based on the Spanish dance, Elssler's sensual and flirtatous cachucha was the sensation of the
ballet Le Diable Boiteux in 1836. It became her trademark.

Elssler was born in Austria in 1810 and with her sister appeared with the famous Viennese Children's Ballet. At 12, she joined the corps at the Hoftheater under ballet master Filippo Taglioni, and later studied briefly with the famous Auguste Vestris.

Elssler was one of the first international dance stars, and one of the first to tour America – a major undertaking in the years before the railways were established.

On the voyage over she was attacked by a sailor but dealt him such a kick that he died a few days later.

The popular image of the Romantic ballerina as an otherworldly, ethereal being was portrayed in lithographs. These were popular before photography. They showed ballerinas poised on flowers, reclining on clouds and floating through the air. Many ballerinas did perform these feats on stage, but with more than a little help from stage technology.

Print depicting Clara Webster in The Beauty of Ghent, L'Enfant (print), lithographic print, about 1844. Museum no. E.5065-1968
Print depicting Clara Webster in The Beauty of Ghent, L'Enfant (print), lithographic print, about 1844. Museum no. E.5065-1968
Clara Webster
Unlike other European countries, England never produced a great Romantic ballerina.

England did not have a national ballet school attached to a major opera house, although several London theatres provided dance training.

The talented Clara Webster (1821 - 1844), who London critics prophesied would be the first great English ballerina, had her career cut tragically short when her dress caught fire on stage.

In the 1840s, Clara Webster was hailed as British ballet's 'most promising star' - the first English dancer talented enough to challenge the popular prejudice that ballet belonged to the French or Italian ballerinas.

In 1844 she was dancing in The Revolt of the Harem at Drury Lane when her dress brushed the flame of an oil-burning lamp on the stage. Her flimsy ballet dress went up in flames in seconds. None of her colleagues dared go near to help and the fire buckets were all empty. Finally a stagehand threw himself on top of her and smothered the flames.

No one thought to bring down the curtain so the audience witnessed the whole event. Clara was carried backstage and an announcement made that her injuries were not too serious, so the ballet continued. She died three days later from her burns. She was just 23 years old.

Lola Montez
Lola Montez, The Herald Newpaper, monochrome lithographic print, about 1840
Lola Montez, The Herald Newpaper, monochrome lithographic print, about 1840
Lola Montez (1818 - 1861) is remembered for her outrageous and flamboyant life rather than for any significant talent as a dancer.

She was born plain Eliza Gilbert in Ireland in 1818. Trading on her dark colouring and exotic beauty, she reinvented herself as a Spaniard and, after only five months' training, launched herself in 1843 as a Spanish dancer.

All London flocked to see her debut, but during the performance one of her rejected suitors shouted 'Dammit! It's Betty James!' after which she lost credibility.

Europe, however, raved. Her admirers included famous authors, among them Dumas and Balzac, and the composer Franz Lizst. By 1847 she was mistress of King Ludwig of Bavaria and virtually controlled his government.

Banished in 1848, she resumed her stage career. In London her appearances were cancelled because she was appearing in court on a bigamy charge. In Australia she horsewhipped the editor of the Ballerat Times. In New York she lectured on the 'Care of the Bust'.

Like many others who led full and rich lives, she later repented of her colourful past and devoted her last years to helping fallen women.

Louise Farebrother as Abdullah, colour lithograph, January 1848. Museum no. E.5008-1968
Louise Farebrother as Abdullah, colour lithograph, January 1848. Museum no. E.5008-1968
Louise Farebrother
Louise Farebrother (1816 - 1890) starred as Abdullah in Open Sesame, one of the earliest burlesque versions of The Forty Thieves staged in 1844. She was one of only a few performers to marry into the aristocracy, for while many aristocrats took actresses or dancers as mistresses, few would actually commit themselves to marriage.

George, Duke of Cambridge, first cousin to Queen Victoria and Commander-in-Chief of the army was an exception. He fell head over heels in love with Louise and haunted the stage door of the Lyceum Theatre where she was playing.

They lived together for several years then, just before the birth of their third son, they secretly married, in contravention of the Royal Marriage Act, which decreed that members of the Royal Family could not marry without the permission of the sovereign. Queen Victoria eventually approved the marriage.

Pas de Quatre
Print of the celebrated Pas De Quatre, composed by Jules Perrot as danced at Her Majesty's Theatre, lithograph, 12 July 1845. Museum no. E.5033-1968
Print of the celebrated Pas De Quatre, composed by Jules Perrot as danced at Her Majesty's Theatre, lithograph, 12 July 1845. Museum no. E.5033-1968
In 1845 the four most famous Romantic ballerinas Marie Taglioni, Carlotta Grisi (1819 - 1899), Fanny Cerrito (1817 - 1909) and Lucile Grahn (1819 - 1907), appeared together on the London Stage in the Pas de Quatre, choreographed by Jules Perrot.

Ballerina and choreographer Fanny Cerrito was born in Naples in 1817. Small and voluptuous, she became the toast of Europe.

Cerrito first danced in London in 1840 in the solo 'La Lituana'. Her debut was delayed several days because of audience riots according to a popular comic poem 'Ma'am'selle Cherrytoes Shook to her very toes, / She couldn't hop on, so hopp'd off on her merry toes'.

In 1845 she performed in the 'Pas de Quatre' as one of the four most popular ballerinas of the day. That same year, Cerrito married fellow dancer Arthur Saint-Léon (thereby breaking aristocratic hearts across Europe).

They separated in 1851and one of those aristocrats, a Spaniard, became her partner with whom she had a daughter. Cerrito retired in 1857 but did not die until May 1909 in Paris, only days before the first performances of the Diaghilev Ballet, which changed dance forever.

The Pas de Quatre which opened at Her Majesty’s Theatre, London played for only six performances. It was an overnight success and became legendary. The ballet was immortalised in a famous lithograph showing the four star ballerinas of the Romanic era.

The decline of Romantic ballet
In 1847, the soprano opera singer Jenny Lind made a sensational London debut. The fashionable London audiences had a new star and lost interest in ballet.

Marie Taglioni (1804 - 84) in the ballet Flore et Zephre, engraving by Richard James Lane (1800 - 72), after a drawing by Alfred Edward Chalon (1780 - 1860), hand-coloured engraving, England, 1831. Museum no. E.5055-1968
Marie Taglioni (1804 - 84) in the ballet Flore et Zephre, engraving by Richard James Lane (1800 - 72), after a drawing by Alfred Edward Chalon (1780 - 1860), hand-coloured engraving, England, 1831. Museum no. E.5055-1968
Ballet survived in pantomime, opera and the music halls and by the 1890s ballet was a main attraction on the variety bills at the rival Alhambra and Empire Theatres in Leicester Square.

Marie Taglioni
‘Will that little hunchback ever learn to dance’ mocked Marie Taglioni’s teacher in Paris. Despite being exceptionally plain with very long arms and legs, Marie Taglioni became more than the world’s most famous dancer. Her look became the defining image of the ballerina, poised on the tips of her toes, wearing a long white tutu and a floral wreath, her dark hair parted at the centre and drawn back.

Marie Taglioni was born in Sweden into a family of dancers. She trained in Paris but was not considered talented until her father, Filippo, became her teacher. In 1832, Filippo created La Sylphide to show Taglioni to her best advantage. This supernatural, tragic story with its romantic Scottish setting, combined with Taglioni’s ethereal look, became a defining moment in Romantic ballet. Taglioni became the rage of Europe.

The ethereal image of the sylph was reflected in fashion. Young women often drank vinegar and water to make themselves look pale and interesting.

Marie Taglioni danced the title role in La Bayadère in London in 1831. Her dress was based upon conventional dance dress of the period, but the ballet's Indian setting is clear from the scoop neck, fitted short sleeves, wide belt, pearl droplet head-dress and long earrings seen in this print.

A bayadère is an Indian temple dancer. The 1830s knew little about Indian dance and the movements were based on visual sources such as books or paintings. London did not see authentic Indian dancing until 1838, and even then some spectators preferred Taglioni's 'Indian' dance to the real thing.

Taglioni stands 'en pointe' (on the tips of her toes). There are prints of dancers standing en pointe in the 1820s, but then it was not used artistically but as a technical trick. Taglioni and her choreographer father honed the technique to perfection, making it effortless and an expression of character. To her audiences, she seemed to float above the ground. From now on, point work would be an integral part of ballet technique.



Marie Taglioni as Bayadère, coloured lithograph, 1831. Museum no. E.5046-1968
Marie Taglioni as Bayadère, coloured lithograph, 1831. Museum no. E.5046-1968
Taglioni mania
Taglioni became so popular that all kinds of things were named after her. In Russia there were Taglioni caramels, cakes and hairstyles. After her last performance in Russia in 1842, a pair of her ballet shoes was sold for 200 roubles, cooked, garnished and served with a special sauce, then eaten by a group of ballet fans. History does not record whether the shoes had been worn or not.

In England the London to Windsor stagecoach was named after her.

Taglioni retired from dancing in 1847. In 1860 she choreographed her only ballet Le Papillon (The Butterfly) for her pupil Emma Livry. Tragically, in 1863, Emma’s stage costume brushed against a gas jet and caught fire. She later died of burns.

Madame Taglioni's Dancing Class, ink and watercolour on paper, late 19th century
Madame Taglioni's Dancing Class, ink and watercolour on paper, late 19th century
Taglioni as teacher
After Marie Taglioni retired from dancing, she went to live in Italy, on the shores of Lake Como. In the 1870s Taglioni moved to London where she taught social dance to children and society ladies. She had no shortage of pupils, many of whom came from the smartest families in London.

She taught ballet to only a few children — social dance was more profitable. Among her pupils was Princess May of Teck, the future Queen Mary, who, for the rest of her life, boasted that she had been taught to curtsey by Mme Taglioni.

As the greatest ballerina of her day, Taglioni had been highly paid and showered with jewels and other gifts from admirers. She never had a particularly extravagant lifestyle, especially compared to some of her peers, but it is thought that much of her fortune disappeared to pay her husband's debts, and so she was reduced to teaching.

In the 18th and early 19th century an international community of professional dancing masters made a living by teaching the upper classes the complicated formations that made up the social dances of the day.

By the mid-19th century however, dancing had become popular over a wider social group and the dances themselves were becoming simpler.

Dances such as the at first  scandalous waltz, the 'Schottische' and the polka could be learnt from a book, thus threatening the livelihood of the old-school dancing masters.

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Romantic Images Free Biography

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Wassily Wasilyevich Kandinsky was born on December, 16th (4), 1866 in Moscow, in a well-to-do family of a businessman in a good cultural environment. In 1871 the family moved to Odessa where his father ran his tea factory. There, alongside with attending a classical gymnasium (grammar school), the boy learned to play the piano and the cello and took to drawing with a coach. "I remember that drawing and a little bit later painting lifted me out of the reality", he wrote later. In Kandinsky's works of his childhood period we can find rather specific color combinations, which he explained by the fact that "each color lives by its mysterious life".

However, Wassily's parents saw him in the future as a lawyer. In the year of 1886 he went to Moscow and entered Law Faculty of Moscow University. Graduating with honors, six years later Wassily married his cousin, Anna Chimyakina. In 1893 he became Docent (Associate Professor) of Law Faculty and continued teaching. In 1896 the famous in Derpt University in Tartu, where at that time the process of russification was taking place, a thirty-year-old Kandinsky was appointed Professor to the Department of Law, but at this particular time he decided to give up a successful career to devote himself completely to painting. Later on Kandinsky recollected two events, which had affected this decision: his visiting an exhibition of the French impressionists in Moscow in 1895 and an emotional shock he experienced from K. Monet's, "Haystacks", and an impression of Rihard Wagner's "Lohengrin" at the Bolshoi Theatre.

Munich, at that time considered to be one of the centers of the European art, and entered Anton Azbe's (Yugoslavian artist) prestigious private painting school , where he received the first skills in image composition, in work with line and form. However, rather soon the school ceased to satisfy his needs. Later the artist would write, "Quite often I yielded to a temptation to play truant and to go with a painter's case to Shvabing, to Englishen-Garten, or to the parks on the Isar". In 1900 after a failure of the previous year, Kandinsky entered the Munich Academy of Arts, and studied under Franz Stuck, "German graphic artist Number One". The master is happy with his student, but considered his palette too bright. Meeting the Master's requirements, for the whole year Kandinsky drew exclusively in black-and-white spectrum , "studying the form as that".
During that period Kandinsky got acquainted with a young artist, Gabriela Munter, and in 1903 he divorced his wife, Anna Chimyakina. The following five years he with Gabriela travelled across Europe, being engaged in painting and participating in exhibitions. Having returned to Bavaria, they settled down in a small town of Murnau at the bottom of the Alps. It was the beginning of the stage of intensive and fruitful search. The works of those years were basically landscapes, based on color discords. The play of color spots and lines was gradually superseding images of reality (Akhtyrka. Autumn. A sketch, 1901; Sluice, 1901; Old Town, 1902; Blue Rider, 1903; The Gulf Coast in Holland, 1904; Murnau. The Bailey, 1908). At that very time he turned to Russian fairy epic olden time, creating captivating images (Russian Rider, 1902; Russian Beauty on the Landscape Background, 1904), making mysterious legends about slavic wooden cities visible (Russian Village on the River with the Shallops, around 1902; To the City, around 1903).

Kandinsky due to his active creativity and organizational skills always attracted anything intellectual, restless, striving, which was in the world of art of that time. Thus, in 1901 he founded Phalanx, an art group, in Munich and started a school, in which he taught himself. For four years Kandinsky had arranged twelve exhibitions of the painters who were Phalanx's members. In 1909 he together with Jawlensky, Kanoldt, Kulbin, Munter and others, co-founded The New Group of Artists (Neue Kunstlervereinigung), Munich (MKUM) and became President. The Creed of the society is Not only does each of participants know how to tell, but as well they know what to tell. In 1900 Kandinsky participated in the exhibitions of the Moscow Partnership of Artists, and in 1910 and 1912 in the exhibitions of "Jack of Diamonds" art group. Besides, he published his critical Letters from Munich in the magazines The World of Art and Apollo (1902, 1909). In 1911 Kandinsky together with his friend, Frantsem Mark, an artist, established a group called Blue Rider (Blaue Reiter). According to the artist, "the accent was made on revealing associative properties of color, line and composition, and they used various sources, such as Goethe and Phillip Runge's romantic theory of color, "Jugendstil" and Rudolf Steiner's theosophy".

"There was no any other time when Kandinsky's painting develop as promptly as during the Munich years", wrote M.K. Lacoste, "At times it is hard to understand, why at the beginning the founder of abstract painting selected the plots typical for Bidermeierstyle - fans, crinolines, riders. The style of his works of the early period can be called neither conditional nor pretentious but in them nothing portended a radical renovation of painting. However, only few artists are known to have luck to show simultaneously originality in form and content. At first, it was important for Kandinsky to try his own opportunities of expression. Though one cannot but admit that Evening (1904-1905) has its own originality, however, it is difficult to imagine that it was created by the very artist who in five-six years would bring the first abstract work (1910) in history of art into the world. What a great creative force should operate in Kandinsky! What prompt evolution from 1908 to 1914 - from landscapes, though bold already in color and form, but still true to nature, as "Houses in Murnau on Obermarkt" "(1908), up to a chaotic sketch called "Gorge" (1914) and restless compositions in a series of pictures "Seasons" in Guggenheim's Museum (Autumn). It would be difficult to guess a hand of the same artists in rather objective "Crusaders" (1903) and in such an abstract work, as "Composition VII", 1913, despite their common dynamics. Here - a constrained impulse, there - a liberated movement".

At the same time Kandinsky rendered tribute to literary activity. In 1912 "Concerning the Spiritual in Art" was published. Turning upside down the established idea about art in general, this book became the first theoretical foundation of abstractionism. Having come to an idea, that "the purposes (and therefore, means) of nature and arts are essentially, organically and according to the laws of the Universe are various - and equally great... and equally strong", the artist proclaimed creative process of "self-expression and self-development of spirit". Besides, Kandinsky wrote memoirs Looking Back (1913); in Russian translation - Stairs), the collection of verses Sounds (1913) with 55 black-and-white and color lithographs.

When the World War began Kandinsky was compelled to leave Germany. On August, 3rd, 1914 he and Gabriela moved to Switzerland where Kandinsky started to work on the book about "point and line". By November of the same year they had parted. Gabriela came back to Munich, and Kandinsky went to Moscow. In the autumn of 1916 Kandinsky got acquainted with Nina Andreevskaya, the daughter of the Russian General, and he married her in February, 1917. During these crisis years of revolution Kandinsky alternated among half-abstract idiom, Impressionist landscapes and romantic fantasies. In his abstract pictures geometrization of separate elements became stronger, the reason for that is, first, the proper process of simplification, and, secondly - the Avant-Garde artistic atmosphere of Moscow of that time.

In Russia Kandinsky was in the vein of the post revolutionary cultural and political development. From 1918 till 1921 he cooperated with ISO of Narkompros (People's Committee of Education) in the field of art training and museum reform. 1919 and 1921 he published six big articles. As Chairman of the State Purchasing Commission at the Museum Bureau of the ISO Department of Narkompros he participated in founding twenty two provincial museums. But Kandinskt renders the biggest influence as a teacher of the Moscow Svomas (Free Workshops), and then Vkhutemas. Being its Professor since October, 1918, he designed a special curriculum based on the analysis of color and form, developing the ideas stated in On the Spiritual in Art. Then, participating in the foundation and management of the Moscow Institute of Artistic Culture (Inkhuk) he designed a curriculum for it, based on his theory. However, his opinion differed from the opinion of the Board of the Institute. Kandinsky's opponents - Rodchenko, Stepanova and Popova - are for the exact analysis of materials, for their constructive arrangement and setting. Any display of irrationality in creative process was emphatically denied. Kandinsky, in his turn, vigorously opposed the Constructivist opponents: "Just because an artist uses 'abstract' methods, it does not mean that he is an 'abstract' artist. It doesn't even mean that he is an artist. Just as there are enough dead triangles (be they white or green), there are just as many dead roosters, dead horses or dead guitars. One can just as easily be a "realist academic" as an "abstract academic". A form without content is not a hand, just an empty glove full of air". The unceasing attacks of his colleagues-artists considering his works as " mutilated spiritism " (Punin) were a determinative for Kandinsky to leave Moscow in December, 1921. The pressure of socialist ideology upon the art, which led eventually to appearance of socialist realism, began after 1922. Kandinskii's pictures for many years are put away from the Soviet museums.

returning to Germany, Kandinsky accepts an invitation of Walter Gropius, the founder of the well-known Bauhaus (the Higher school of construction and art designing) and he and Nina moved to Weimar where Kandinsky headed a fresco workshop. He again taught and developed the ideas. They dealt, first of all, with the deep analytical studying of separate elements of a picture, which resulted into "Point and Line to Plane" in 1926. Kandinsky also worked much and experimented with color, applying his analytical foundation and the conclusions in his teaching. Kandinsky's works again underwent changes: individual geometrical elements increasingly entered the foreground, his palette was sated with cold color harmonies which, at times, are perceived as a dissonance, the circle is used differently, as a sensual symbol of perfect form. "Composition VIII", 1923 is the main work of the Weimar period. Alongside with conceptual works, at this time he created Small Worlds rich in fantasy for Propilei Publishing House and some chamber, "intimate" pictures, such as "Small Dream in Red", 1925. Also Kandinsky lectured and exhibited in the USA, having established together with with Feininger, Javlenskii, and Klee "Blue Four".

In 1925, due to the right wing parties' attacks Bauhaus in Weimar was closed. The second period of Bauhaus in Dessau began in quite favorable conditions: Kandinsky and other artists conducted some free classes of painting where they, besides teaching, could paint freely. "Yellow-Red-Blue", 1925, is one of the significant works describing a stage of "cold romanticism" in Kandinsky's painting. "A circle, which I use recently so often, could not be called otherwise but romantic. And the present day romanticism is essentially deeper, more beautiful, more substantial and more salutary - it is a piece of ice, in which fire is burning. And if people feel only cold and do not feel fire - so much the worse for them..." In Dessau Kandinsky with a new force was carried away with romantic ideas of "Gesamtkunstwerk" (an idea of synthesis of arts in one work). These ideas were embodied in Yellow Sound and in graphic support of Mussorgskii's Pictures to the Exhibition.

Kandinsky's painting of the last years in Bauhaus was penetrated with ease and strange humour, which again would be shown in his late Parisian works, For example, his picture "Capricious", 1930, can be possibly referred to them, it evokes some cosmically Egyptian associations and is filled with fantastic symbolical images in the spirit of Paul Glue, the artist with whom Kandinsky made friends at that time. About 1931 national socialists started a large scale campaign against Bauhaus, which led to its closing in 1932. Kandinsky with his wife emigrated to France where they took up their residence in a new house in the Parisian suburb Neuilly-sur-Seine. Between 1926 and 1933 Kandinsky painted 159 oils and 300 water colors. Many of them, unfortunately, have been lost after Nazis declared Kandinsky's and many other artists' paintings to be "degenerate" (one of them - Marc Chagall).

Parisian artistic environment turned to be reserved to Kandinsky's presence. The reasons for that were his isolation from foreign colleagues and absence of recognition of abstract painting in general. As a result of this the artist lived and worked lonely, being limited to socialize only with his old friends. At this time the last transformation of his painting system happened. Now Kandinsky did not use a combination of primary colours but worked with soft, refined, subtle nuances of colour. Simultaneously, it supplemented and complicated the repertoir of forms: on the foreground there appear biomorphic elements, which feel at ease in the space of a picture as if floating all over the surface of a canvas. Kandinsky's pictures of this period are far from the feeling of "cold romanticism", in them life seethes and boils (see pictures "Sky Blue", 1940, "Complex-Simple", 1939, "Colourful Ensemble", 1938 и др.). The artist named this period of his creativity to be "really a picturesque fairy tale". During the war-time period because of the shortage of materials the formats of his pictures become ever less, up to that moment when the artist was compelled to be content with gouache painting on cardboards of a small format. And again he confronted with aversion of the public and colleagues. And again he developed and improved the basics of his theory: "Abstract art places a new world, which on the surface has nothing to do with "reality," next to the "real" world. Deeper down, it is subject to the common laws of the "cosmic world." And so a "new world of art" is juxtaposed to the "world of nature." This "world of art" is just as real, just as concrete. For this reason I prefer to call so-called "abstract art" "concrete art.". Kandinsky up to the very end had not doubted his "inner world", the world of images where the abstraction was not an end in itself, and the language of forms was not "deadborn"; they arose from will to pithiness and vitality.

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Doris Lessing was born Doris May Tayler in Persia (now Iran) on October 22, 1919. Both of her parents were British: her father, who had been crippled in World War I, was a clerk in the Imperial Bank of Persia; her mother had been a nurse. In 1925, lured by the promise of getting rich through maize farming, the family moved to the British colony in Southern Rhodesia (now Zimbabwe). Doris's mother adapted to the rough life in the settlement, energetically trying to reproduce what was, in her view, a civilized, Edwardian life among savages; but her father did not, and the thousand-odd acres of bush he had bought failed to yield the promised wealth.
Lessing has described her childhood as an uneven mix of some pleasure and much pain. The natural world, which she explored with her brother, Harry, was one retreat from an otherwise miserable existence. Her mother, obsessed with raising a proper daughter, enforced a rigid system of rules and hygiene at home, then installed Doris in a convent school, where nuns terrified their charges with stories of hell and damnation. Lessing was later sent to an all-girls high school in the capital of Salisbury, from which she soon dropped out. She was thirteen; and it was the end of her formal education.

But like other women writers from southern African who did not graduate from high school (such as Olive Schreiner and Nadine Gordimer), Lessing made herself into a self-educated intellectual. She recently commented that unhappy childhoods seem to produce fiction writers. "Yes, I think that is true. Though it wasn't apparent to me then. Of course, I wasn't thinking in terms of being a writer then - I was just thinking about how to escape, all the time." The parcels of books ordered from London fed her imagination, laying out other worlds to escape into. Lessing's early reading included Dickens, Scott, Stevenson, Kipling; later she discovered D.H. Lawrence, Stendhal, Tolstoy, Dostoevsky. Bedtime stories also nurtured her youth: her mother told them to the children and Doris herself kept her younger brother awake, spinning out tales. Doris's early years were also spent absorbing her fathers bitter memories of World War I, taking them in as a kind of "poison." "We are all of us made by war," Lessing has written, "twisted and warped by war, but we seem to forget it."

In flight from her mother, Lessing left home when she was fifteen and took a job as a nursemaid. Her employer gave her books on politics and sociology to read, while his brother-in-law crept into her bed at night and gave her inept kisses. During that time she was, Lessing has written, "in a fever of erotic longing." Frustrated by her backward suitor, she indulged in elaborate romantic fantasies. She was also writing stories, and sold two to magazines in South Africa.

Lessing's life has been a challenge to her belief that people cannot resist the currents of their time, as she fought against the biological and cultural imperatives that fated her to sink without a murmur into marriage and motherhood. "There is a whole generation of women," she has said, speaking of her mother's era, "and it was as if their lives came to a stop when they had children. Most of them got pretty neurotic - because, I think, of the contrast between what they were taught at school they were capable of being and what actually happened to them." Lessing believes that she was freer than most people because she became a writer. For her, writing is a process of "setting at a distance," taking the "raw, the individual, the uncriticized, the unexamined, into the realm of the general."

In 1937 she moved to Salisbury, where she worked as a telephone operator for a year. At nineteen, she married Frank Wisdom, and had two children. A few years later, feeling trapped in a persona that she feared would destroy her, she left her family, remaining in Salisbury. Soon she was drawn to the like-minded members of the Left Book Club, a group of Communists "who read everything, and who did not think it remarkable to read." Gottfried Lessing was a central member of the group; shortly after she joined, they married and had a son.

During the postwar years, Lessing became increasingly disillusioned with the Communist movement, which she left altogether in 1954. By 1949, Lessing had moved to London with her young son. That year, she also published her first novel, The Grass Is Singing, and began her career as a professional writer.

Lessing's fiction is deeply autobiographical, much of it emerging out of her experiences in Africa. Drawing upon her childhood memories and her serious engagement with politics and social concerns, Lessing has written about the clash of cultures, the gross injustices of racial inequality, the struggle among opposing elements within an individuals own personality, and the conflict between the individual conscience and the collective good. Her stories and novellas set in Africa, published during the fifties and early sixties, decry the dispossession of black Africans by white colonials, and expose the sterility of the white culture in southern Africa. In 1956, in response to Lessing's courageous outspokenness, she was declared a prohibited alien in both Southern Rhodesia and South Africa.

Over the years, Lessing has attempted to accommodate what she admires in the novels of the nineteenth century - their "climate of ethical judgement" - to the demands of twentieth-century ideas about consciousness and time. After writing the Children of Violence series (1951-1959), a formally conventional bildungsroman (novel of education) about the growth in consciousness of her heroine, Martha Quest, Lessing broke new ground with The Golden Notebook (1962), a daring narrative experiment, in which the multiple selves of a contemporary woman are rendered in astonishing depth and detail. Anna Wulf, like Lessing herself, strives for ruthless honesty as she aims to free herself from the chaos, emotional numbness, and hypocrisy afflicting her generation.

Attacked for being "unfeminine" in her depiction of female anger and aggression, Lessing responded, "Apparently what many women were thinking, feeling, experiencing came as a great surprise." As at least one early critic noticed, Anna Wulf "tries to live with the freedom of a man" - a point Lessing seems to confirm: "These attitudes in male writers were taken for granted, accepted as sound philosophical bases, as quite normal, certainly not as woman-hating, aggressive, or neurotic."

In the 1970s and 1980s, Lessing began to explore more fully the quasi-mystical insight Anna Wulf seems to reach by the end of The Golden Notebook. Her "inner-space fiction" deals with cosmic fantasies (Briefing for a Descent into Hell, 1971), dreamscapes and other dimensions (Memoirs of a Survivor, 1974), and science fiction probings of higher planes of existence (Canopus in Argos: Archives, 1979-1983). These reflect Lessing's interest, since the 1960s, in Idries Shah, whose writings on Sufi mysticism stress the evolution of consciousness and the belief that individual liberation can come about only if people understand the link between their own fates and the fate of society.

Lessing's other novels include The Good Terrorist (1985) and The Fifth Child (1988); she also published two novels under the pseudonym Jane Somers (The Diary of a Good Neighbour, 1983 and If the Old Could..., 1984). In addition, she has written several nonfiction works, including books about cats, a love since childhood. Under My Skin: Volume One of My Autobiography, to 1949 appeared in 1995 and received the James Tait Black Prize for best biography.

Addenda (by Jan Hanford)

In June 1995 she received an Honorary Degree from Harvard University. Also in 1995, she visited South Africa to see her daughter and grandchildren, and to promote her autobiography. It was her first visit since being forcibly removed in 1956 for her political views. Ironically, she is welcomed now as a writer acclaimed for the very topics for which she was banished 40 years ago.

She collaborated with illustrator Charlie Adlard to create the unique and unusual graphic novel, Playing the Game. After being out of print in the U.S. for more than 30 years, Going Home and In Pursuit of the English were republished by HarperCollins in 1996. These two fascinating and important books give rare insight into Mrs. Lessing's personality, life and views.

In 1996, her first novel in 7 years, Love Again, was published by HarperCollins. She did not make any personal appearances to promote the book. In an interview she describes the frustration she felt during a 14-week worldwide tour to promote her autobiography: "I told my publishers it would be far more useful for everyone if I stayed at home, writing another book. But they wouldn't listen. This time round I stamped my little foot and said I would not move from my house and would do only one interview." And the honors keep on coming: she was on the list of nominees for the Nobel Prize for Literature and Britain's Writer's Guild Award for Fiction in 1996.

Late in the year, HarperCollins published Play with A Tiger and Other Plays, a compilation of 3 of her plays: Play with a Tiger, The Singing Door and Each His Own Wilderness. In an unexplained move, HarperCollins only published this volume in the U.K. and it is not available in the U.S., to the disappointment of her North American readers.

In 1997 she collaborated with Philip Glass for the second time, providing the libretto for the opera "The Marriages Between Zones Three, Four and Five" which premiered in Heidelberg, Germany in May. Walking in the Shade, the anxiously awaited second volume of her autobiography, was published in October and was nominated for the 1997 National Book Critics Circle Award in the biography/autobiography category. This volume documents her arrival in England in 1949 and takes us up to the publication of The Golden Notebook. This is the final volume of her autobiography, she will not be writing a third volume.

Her new novel, titled "Mara and Dann", was been published in the U.S in January 1999 and in the U.K. in April 1999. In an interview in the London Daily Telegraph she said, "I adore writing it. I'll be so sad when it's finished. It's freed my mind." 1999 also saw her first experience on-line, with a chat at Barnes & Noble (transcript). In May 1999 she will be presented with the XI Annual International Catalunya Award, an award by the government of Catalunya.

December 31 1999: In the U.K.'s last Honours List before the new Millennium, Doris Lessing was appointed a Companion of Honour, an exclusive order for those who have done "conspicuous national service." She revealed she had turned down the offer of becoming a Dame of the British Empire because there is no British Empire. Being a Companion of Honour, she explained, means "you're not called anything - and it's not demanding. I like that". Being a Dame was "a bit pantomimey". The list was selected by the Labor Party government to honor people in all walks of life for their contributions to their professions and to charity. It was officially bestowed by Queen Elizabeth II.

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Love And Romantic Images Biography

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Riteish Deshmukh and Genelia D'Souza talk to TOI about their romance, ahead of the February 4 wedding

Riteish Deshmukh and Genelia D'Souza are all set to tie the knot on February 4 after dating for almost a decade. In a candid chat, Ritz and Genie talk about their love story. Here's a flashback into the prem kahani that has never been told.

The first meeting Riteish: I was flying to Hyderabad for the test shoot of Tujhe Meri Kasam and I was told that the girl opposite me would be there. I walked out of the airport and met Genelia's mom. Then I saw this tall girl looking in the opposite direction, completely ignoring me. I was like, 'Why is she behaving like this?' Genelia (butts in): I did say, 'Hi!' I'd found out two days before that he was the Chief Minister's son so I assumed he was a spoilt brat... a typical politician's son... so I thought I'd give him attitude before he did! (laughs) Otherwise, I am shy and reserved by nature.

Breaking the ice Genelia: The minute I spoke to him, I realised he was a nice person. On the set, Riteish binds people. I didn't know anything about films then but he made it look so easy. Also I found it endearing how he was so respectful of my parents and elders. Riteish: Itni taareef maine apne bare mein itne saalon mein nahin suni hai!

Woh pehli baar... Riteish: We started working as strangers, then began understanding each other. Off the sets we soon became best friends. I would discuss architecture with her while she would discuss college and exams with me! The beauty of a relationship is when you get used to a person; it is not sudden. It is just a process, and you don't realise when love happens. After I came back from the Hyderabad schedule, I started missing her. I wondered whether it was right to call her or not. That dilemma lasted for a few days. Genelia: I was completely floored by Riteish's personality. I think guys like him are rare in today's world. I love listening to him and enjoy his views. Falling in love was gradual. Every stage was played out very correctly — be it friends, be it best friends or life partners.

Confessing love Riteish: There was no great realisation of love overnight, nor were there any great declarations. It was understood. We didn't need to tell each other anything. We were together for days, which went into months and then years. Genelia: The gradual development of our love was so unbelievable that it surprised us. We just grew together. The best part is that we've never stopped being friends no matter how much our relationship has grown.

The romantic one Riteish: Neither of us are terribly romantic people, but we believe in special moments. Small things that have happened unknowingly have become romantic moments. Like this year on New Year's night, we suddenly decided to stop at a coffee shop at 11.30 pm and spend some time together. We try and find happiness in small things. Genelia: We enjoy life and each other's company. We have a great time over coffee. My world is very small — it includes my parents, Riteish and a couple of friends. When you keep your world so precise, you know what your priorities are.

Him and her Riteish: She is my flag-bearer. I draw unconditional support and love from her. Genelia's love holds me together and to understand her love is something else. It is amazing. Genelia: I love Riteish. He lets me be. He encourages and pushes me. He's proud of me and he's such a secure person. At times, I get cranky but he's always cool and handles things with maturity. I also love the way he conducts life and his willingness to listen first and then speak.

I hate you Riteish: I hate her memory! While there are certain things I may want to forget, she remembers everything. With time, some things need to be forgotten! Genelia: What I don't like about him is that he the world's busiest man. Even on a holiday he will manage to be busy! He will call and tell me he has these meetings and can meet me in between.

Fight club Riteish: We hardly fight. We have differences of opinion. I goof up most of the time but we never yell at each other. I am usually the one to make up first. To make up with a girl is an ever-evolving process! Genelia: I wait for Riteish to sort it out.

The proposal Genelia: He hasn't proposed as yet... (giggles) Riteish: It's an arranged marriage, so there was no need to propose formally.

No proposal! Riteish: I have always been weak-kneed in front of her (smiles)! Shaadi ke din bache hai na — kar doonga main propose tab! She was a teenager when we started dating, and I was in my 20s. We have grown up together, having gone from being really childish to having a sense of maturity. Genelia: Formal proposals are mere rituals. It's important to be happy with the person you are with.

The engagement Genelia: There's no sparkler (she shows her bare fingers). He's given himself to me, so that's fine. Riteish is my biggest and only sparkler. Riteish: Shaadi se pehle de doonga!

Shaadi ke baad Riteish: Agar yeh kaam nahi karegi toh ghar kaise chalega? (laughs) Every decision that's been made has been hers, but Genelia has always been gracious enough to discuss it with me. So whether she wants to work in films or not is up to her. Whatever she decides is okay with me. Genelia: He's always told me that it is my decision whether I want to work after marriage or not. Of course, I will prioritise my work differently post marriage. I don't want to be part of the rat race, but I do want to be part of something good.

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