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.  Related Paintings of Piet Mondrian :. | The mill at night | beach of castle | Conformation | New York | Belong Conformation |
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Juan Bautista del Mazo
Juan Bautista Martenez del Mazo (c.1612 - 10 February 1667) was a Spanish Baroque portrait and landscape painter, the most distinguished of the followers of Velezquez, whose style he imitated more closely than did any other artist. A fine painter himself, Mazo was a master of landscape, as proven by his most celebrated work View of Saragossa.
Alexander Helwig Wyant
American Tonalist Painter, 1836-1892,American painter. He began as an itinerant painter of topographical landscapes along the banks of the Ohio River c. 1854, influenced by such landscape artists as Worthington Whittredge and George Inness. In 1863-4 Wyant moved to New York, where he was impressed by the paintings of the Norwegian artist Hans Gude in the Desseldorf Gallery. This led him to work with Gude in Karlsruhe, Germany, in 1865. On his way both there and back, he studied paintings by Constable and used a more painterly technique especially for views of Ireland.
VOUET, Simon
French Baroque Era Painter, 1590-1649 French painter and draughtsman. Although at the time regarded as one of the leading French painters of the first half of the 17th century, he is now known more for his influence on French painting than for his actual oeuvre. He made his reputation in Italy, where he executed numerous portraits for aristocratic patrons and was commissioned for religious subjects. Although the early Italian works show the influence of Caravaggio, his work was subsequently modified by the Baroque style of such painters as Lanfranco and the influence of the Venetian use of light and colour. When he was summoned back to France by Louis XIII in 1627 he thus brought with him an Italian idiom hitherto unknown in France that revitalized French painting