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 :. | Conformation with yellow | Grey tree | Composition with Black, Red, Gray, Yellow, and Blue | Portrait Adele Bloch Bauer | Lighthouse |
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J.L.Clark
British 19th c
Losenko, Anton
Russian Painter, 1737-1773 Ukrainian painter, active in Russia. He trained (1753-8) under Ivan Argunov, and from 1758 he was a student at the recently founded Academy of Art in St Petersburg, where he later taught. From 1760 to 1769 he spent time in Paris, where he studied at the Acad?mie Royale de Peinture et de Sculpture under Jean Reteux (1692-1768) and Joseph-Marie Vien. He then studied in Rome.
Girolamo Mocetto
Italian Painter, ca.1470-1531,Italian engraver, painter and designer of stained glass. He was born into a family of glass painters, and, although there is no documentary evidence that he worked outside Venice, his early paintings and engravings show the influence of Domenico Morone and of Mantegna and his circle, which would suggest that Mocetto's training may not have been exclusively Venetian. His artistic evolution is most clearly seen in a comparison of early works still close to Morone, such as a series of three engravings of the Battle between Israel and the Amalekites (see Hind, nos 719-20) or the painting of the Battle (Pavia, Pin. Malaspina), to works of a few years later, such as the two small paintings of the Massacre of the Innocents (London, N.G.; see fig.) and the engravings of Pagan Sacrifices (H 726-7), the Metamorphosis of Amymone (H 728) and the Calumny of Apelles (H. 727), all datable to c. 1500. In the later works, whole passages or motifs are copied or adapted from drawings and engravings by Mantegna. Mocetto may have had direct contact with the court of Mantua (the Metamorphosis of Amymone is an allegory of the city of Mantua); two engravings dating from the first years of the 16th century, St John the Baptist (H 724) and Judith with the Head of Holofernes (H 725),