Italian 1500-1571 Italian painter and draughtsman. He is best known for his strikingly beautiful depictions of women, both in portraits and in cabinet paintings. He also excelled in rendering monumental architectural settings for narrative, both religious and secular, possibly initiating a genre that would find great currency during the mid-16th century, especially in Venice, France and the Netherlands. His favoured media were oil and fresco, the latter being used on both interiors and faades. Although he was not generally sought after by Venetian patrons during his career, as his art was eclipsed by that of Titian, Paolo Veronese and Jacopo Tintoretto, Bordone was regarded in the mid-16th century as an accomplished artist (Pino; Sansovino). He worked for the moneyed lite of northern Italy and Bavaria, for the royalty of France and Poland, and had works commissioned to be sent to Spain and to Flanders. Despite knowledge of the important patrons for whom he worked, the chronology of Bordones oeuvre is by no means clear. Dating on stylistic grounds is confounded by the diverse sources on which he drew, ranging from the Emilian, Lombard and Venetian to the French and northern European, depending on the patron. Due to the ease with which prints circulated during Bordones career, it is difficult to ascertain whether influences were derived at first hand or from printed images. Such difficulties in assigning dates are further exacerbated by his use of the same figure study for numerous paintings evidently executed decades apart. Reliance on the testimony of Vasari, who interviewed Bordone in 1566, in conjunction with the extant documents, the few signed and dated paintings and, to a lesser extent, period fashion provides only a rough outline of his activity. Due to the lack of agreement among scholars regarding chronology, the following account is based mainly on the documentary evidence.  Related Paintings of Paris Bordone :. | Daphnis and Chloe | Portrait of a Young Woman | Madonna and Child with Saints | Two Lovers | The Annunciation |
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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.
Alfred Rethel
1816 Diepenbend/Aachen-1859 Dusseldorf, was a German history painter. Rethel was born in Aachen in 1816. He showed an interest in art in his early life, and at the age of thirteen he executed a drawing which procured his admission to the academy of D??sseldorf. Here he studied for several years, and produced, among other works, a figure of St Boniface, which attracted much attention. At the age of twenty, Rethel moved to Frankfurt, and was selected to decorate the walls of the imperial hall in the Rmer with figures of famous men. At the same period he produced a series of designs illustrative of Old Testament history. Four years later, Rethel was the successful competitor for the work of ornamenting the restored council house of his native city with frescoes depicting prominent events in the career of Charlemagne, but the execution of this work was delayed for some six years. Meanwhile Rethel occupied himself with the production of easel pictures and of drawings. In 1842, he began a striking series of designs dealing with the Crossing of the Alps by Hannibal, in which the weird power which animates his later art becomes first apparent. In 1844 Rethel visited Rome, executing, along with other subjects, an altar-piece for one of the churches of his native land. In 1846, he returned to Aachen, and commenced his Charlemagne frescoes.
Carl Friedrich Lessing
German Painter, 1808-1880,Painter, great-nephew of GOTTHOLD EPHRAIM LESSING. He studied architecture in Berlin at the Kenigliche Bau-Akademie under Karl Friedrich Schinkel, before transferring to the Kunstakademie, where he became a pupil of Wilhelm Schadow in 1825. The next year Lessing followed Schadow to Desseldorf, where the latter had been appointed Director of the Kunstakademie. Almost to the end of his career Lessing was to follow Schadow's rules for a standard series of procedures in the production of a finished work: compositional sketch, oil study, detailed model study, cartoon and underdrawing for the final painting. Without an official position, Lessing worked at the Desseldorf Akademie until 1858