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 Windmill at the edge of water | Trees | Composition NO.ii Composition with Blue and Red | Evolution | Factory |
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Mednyanszky, Laszlo
Hungarian, 1852-1919 Ladislaus Josephus Balthasar Eustachius Mednyenszky was a Hungarian painter in the Impressionist tradition. Despite an aristocratic background, he spent most of his life moving around Europe working as an artist. Mednyenszky spent considerable periods in seclusion but mingled with people across society - in the aristocracy, art world, peasantry and army - many of whom became the subjects of his paintings. His most important works depict scenes of nature and poor, working people, particularly from his home region in Upper Hungary. Medny nszky was born in Beck, the Kingdom of Hungary (now Beckov in Slovakia), to Eduard Mednyenszky and Maria Anna Mednyenszky, (nee Szirmay) both from landowning families. Mednyenszky's family moved in 1861 to the chateau of his grandfather, Baltazer Szirmay, at Nagyőr (Strežky), near Szepesbela (Spišsk Bele) in north-eastern Hungary. This was to be the setting for many of his works. Medny nszky met the Austrian artist Thomas Ender in 1863 when Ender visited the chateau at Nagyőr. Ender took an interest in Mednyenszky's early efforts at drawing, lending his assistance to improve Mednyenszky's skills. Mednyenszky attended a grammar school in K??smerk (Kežmarok), near his home, then attended the Akademie der Bildenden Kenste (Academy of Fine Arts) in Munich in 1872 - 1873. Dissatisfied in Munich, he moved to Paris to attend the École des Beaux-Arts. After the death of his professor, Isidore-Alexandre Augustin Pils, in 1875, Mednyenszky left the École and began practicing independently from Montmartre. Mednyenszky returned to Nagyőr after 1877 to continue painting, and subsequently travelled widely in Europe, between his childhood homes in Upper Hungary and Budapest, Vienna, Paris and beyond. Mednyenszky visited the Szolnok artists' colony in the autumn of 1877 and Italy in 1878. His mother died in 1883, after which he lived in seclusion in Nagyőr. He returned to Nagyőr in 1887 to help deal with an outbreak of cholera but soon fell ill himself, with pneumonia. He spent much of 1889-1892 in Paris and returned regularly to Nagyőr until 1900.
Charles de Lafosse
French Baroque Era Painter , Paris 1636/40 -1716 French painter and draughtsman. He was the most important decorative painter in France in the generation after Charles Le Brun and in this capacity contributed to many of the major official and private building projects from the 1670s to the 1710s, including the D?me des Invalides in Paris and the chapel at the ch?teau of Versailles. His colourist's temperament, his early study of the Venetian painters of the 16th century and his interest in the work of Peter Paul Rubens contributed to the triumph of the party that championed colour over line and put him in the vanguard of the new tendency in French painting in the later 17th century. His work, with its rich and changing colours, combines the strength of the 17th century with the lightness and grace of the 18th
Adam Albrecht
1786-1862, was a German painter of battles and horses. Born in Nordlingen, he began an apprenticeship as a confectioner and went in 1803 to Nuremberg to begin his training. However, influenced by the director of the Academy of Fine Arts of Nuremberg and later by Johann Rugendas, he turned towards painting - mainly battlefields and horses. After participating in the Austrian campaign of 1809, he stayed for a time in Vienna, where he drew the attention of Napoleon's stepson Eug??ne de Beauharnais and was appointed his court painter. Most of Adam's subsequent works deal with Napoleon's Russian campaign, in which he participated under de Beauharnais. Among other works, he painted a diary of the campaign in 83 scenes. In 1815, Adam moved to Munich, where he was occupied by the emperors and kings of Bavaria and Austria. His studio in Munich was frequently visited by Theodor Horschelt, who later became well known for his paintings of Russian Caucasian War. He worked until a great age, recording battles and portraying horses, even though in his late works he was supported by the help of his sons, Benno, Eugen and Franz. He died in Munich.