American painter and sculptor. 1841-1926 Painter, teacher and sculptor, son of Robert Walter Weir. He grew up at the US Military Academy at West Point, where he was taught by his father. His earliest paintings record the handsome landscape of the surrounding countryside, including View of the Highlands from West Point (1862; New York, NY Hist. Soc.). By November 1862 Weir had settled in New York, occupying quarters in the Studio Building on West Tenth Street, where he became friendly with many of the well-known artists residing there. He also made important contacts through the Century Club and the Athenaeum Club and the Artists' Fund Society. He made his d?but at the National Academy of Design with an Artist's Studio (1864; Los Angeles, CA, Co. Mus. A.), a detailed view of his father's painting room at West Point. The picture's favourable reception led to his election as an Associate of the National Academy of Design.   Related Paintings of John Ferguson Weir :. | Portrait of Bilu | Portrait of the Empress Alexandra Feodorovna of Russia | Still life floral, all kinds of reality flowers oil painting 136 | Dante and Beatrice | Miners attacked by indians |
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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.
Melchers, Gari Julius
American Painter, 1860-1932
NETSCHER, Caspar
Dutch Baroque Era Painter, ca.1635-1684