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 :. | Self-Portrait | The setting sun | Portrait Adele Bloch Bauer | Summer night | komposition |
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Marinus van Reymerswaele
Flemish Northern Renaissance Painter, ca.1490-1567 South Netherlandish painter. He has been identified with Marino di Sirissea and with Marinus de Seeu, painter of Romerswaelen, mentioned respectively by Guicciardini and van Mander. He could quite possibly have been Moryn Claessone, native of Zeeland, who enrolled as a pupil of 'Simon the glassmaker' in the Antwerp Guild of St Luke in 1509. In that case he would have been born c. 1490-95. Claes van Ziericsee, an artist who became master of the Guild in 1475, is assumed to have been his father though this cannot be proved conclusively. Van Reymerswaele's work corresponds closely with Antwerp painting of the beginning of the 16th century
wyndham lewis
British painter and writer. He attended Rugby School and then studied painting at the Slade School of Art, London (1898-1901), where he earned a reputation both as a draughtsman and as a poet. His early artistic and intellectual mentors were Augustus John and Thomas Sturge Moore. From 1902 to 1908 Lewis travelled widely in Europe and studied in many of the major museums. He was one of the first British artists to be aware of, and interested in, Cubism and Expressionism, though little of his work before 1909 survives as evidence of his early development. In late 1908 Lewis settled in London and as well as painting began to publish satirical short stories that take a mechanistic view of human social behaviour, evident in the deliberately clumsy and grotesque figures in his art of the period 1909 to 1912. By 1910 he was including Cubist elements in his watercolour drawings (his preferred medium), and by 1912 he had developed his own linear vocabulary of forms, indebted to Cubist, Futurist and Expressionist forms, which gives an often ironic visual dimension to the themes of his fiction. Another important influence on his art was that of Japanese woodblock prints, as seen in the watercolour drawing later called The Vorticist (1912; Southampton, C.A.G.). By 1913 he was popularly seen as the leading British avant-garde artist.
Fernand cormon
French Academic Painter, 1845-1924 French painter. He studied initially in Brussels under Jean-Fran?ois Portaels. In 1863 he returned to Paris, where for three years he was a pupil of Alexandre Cabanel and Eug?ne Fromentin. He made his d?but at the Salon in 1868 and in 1870 received a medal for the Marriage of the Niebelungen (1870; ex-Mus. B.-A., Lisieux, 1970). His painting the Death of King Ravana (1875; Toulouse, Mus. Augustins), taken from the Indian epic poem the Ramayana, was criticized for the choice of an obscure subject but was nevertheless awarded the Prix de Salon in 1875. Soon afterwards Cormon left France for Tunisia. After his return in 1877 he exhibited regularly at the Salon until his death, establishing a reputation as a painter of historical and religious subjects; he also produced some portraits.