Edouard Vuillard's Oil Paintings
	Edouard Vuillard Museum November 11, 1868-June 21, 1940. French painter.
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Here are all the paintings of Piet Mondrian 02

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
53077		Shore	mk226 40x45.5cm
19470		Solitary House	possibly 1898-1900, watercolor and gouache, Haags Gemeentemuseum, The Hague.
19472		Still Life with Gingerpot II	1912, oil on canvas, Haags Gemeentemuseum, The Hague.
53076		Summer night	mk226 71x110.5cm 1906-1907
53091		Sunset on the sea	mk226 30x40cm c.1909
53106		The apple tree	mk226 78x106cm 1912
53104		The conformation of trees	mk226 98x65cm 1912
53059		The houses beside the poplar trees	mk226 40x31.5cm
53061		The houses on the Liyin river	mk226 30x38cm 1900
53074		The mill at night	mk226 oil on canvas 67.5x117.5cm c.1905
53080		The Mill under the moonlight	mk226 59x73cm 1907
53060		The Rope in front of the farmhouse	mk226 Oil on canvas 31.5x37.5cm
53089		The setting sun	mk226 34.5x50.5cm
53056		The still life with plaster	mk226 oil on canvas 73.5x61.5cm
53101		The still-life with dressing	mk226 65.5x75cm
53102		The still-life with dressing	mk226 91.5x120cm 1912
53067		The trees beside the kerfi river	mk226 Oil on canvas 23.5x37.5cm
53081		The trees under the moonlight	mk226 79x92.5cm 1907-1908
53062		The Windmill at the edge of water	mk226 30x38cm 1900-1904
53073		The woman holding the child in front of the farmhouse	mk226 22x33cm 1902-1905
53087		Title	mk226 72.5x47.5cm 1908
53107		Tree	mk226 94x70cm 1912
53103		Trees	mk226 65x81cm 1911-1912
53055		Trees at the edge of Gaiyin river	mk226 Oil on canvas 25x32cm
19482		Victory Boogie Woogie	unfinished, 1942-43, oil and paper on canvas, private collection.
53068		White cow	mk226 oil on canvas 44.5x58.5cm 1903

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Piet Mondrian

Dutch 1872-1944 Piet Mondrian Location was a Dutch painter. He was an important contributor to the De Stijl art movement and group, which was founded by Theo van Doesburg. He evolved a non-representational form which he termed Neo-Plasticism. This consisted of a grid of vertical and horizontal black lines and the use of the three primary colours. When 47-year-old Piet Mondrian left his artistically conservative native Holland for unfettered Paris for the second and last time in 1919, he set about at once to make his studio a nurturing environment for paintings he had in mind that would increasingly express the principles of Neo-Plasticism about which he had been writing for two years. To hide the studio's structural flaws quickly and inexpensively, he tacked up large rectangular placards, each in a single color or neutral hue. Smaller colored paper squares and rectangles, composed together, accented the walls. Then came an intense period of painting. Then again he addressed the walls, repositioning the colored cutouts, adding to their number, altering the dynamics of color and space, producing new tensions and equilibrium. Before long, he had established a creative schedule in which a period of painting took turns with a period of experimentally regrouping the smaller papers on the walls, a process that directly fed the next period of painting. It was a pattern he followed for the rest of his life, through wartime moves from Paris to London??s Hampstead in 1938 and 1940, across the Atlantic to Manhattan. At 71 in the fall of 1943, Mondrian moved into his second and final New York studio at 15 East 59th Street, and set about again to create the environment he had learned over the years was most congenial to his modest way of life and most stimulating to his art. He painted the high walls the same off-white he used on his easel and on the seats, tables and storage cases he designed and fashioned meticulously from discarded orange and apple-crates. He glossed the top of a white metal stool in the same brilliant primary red he applied to the cardboard sheath he made for the radio-phonograph that spilled forth his beloved jazz from well-traveled records, Visitors to this last studio seldom saw more than one or two new canvases, but found, often to their astonishment, that eight large compositions of colored bits of paper he had tacked and re-tacked to the walls in ever-changing relationships constituted together an environment that, paradoxically and simultaneously, was both kinetic and serene, stimulating and restful. It was the best space, Mondrian said, that he had ever inhabited. Tragically, he was there for only a few months: he died of pneumonia in February 1944.

All the Edouard Vuillard's Oil Paintings

Supported by oil paintings and picture frames