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 :. | komposition i rott, svart,biatt och gult,1928 | Landscape | Evolution | Sea and dock | Farmhouse |
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George goodwin kilburne
1839-124 was a London based genre painter specialising in accurately drawn interiors with figures. He favoured the watercolour medium, although he did also work in oils, pencil and in his early career engraving.George was born on the 24th July 1839 in Norfolk. He was apprenticed for five years to the Dalziel brothers in London, studying wood engraving. He married Jenny Dalziel, the daughter of Robert Dalziel - they had three sons and two daughters: George Goodwin Jnr who also became an artist; Charles Robert, William Richard, Florence and Mary Maud. They all lived together at Hawkhurst House, Steeles Road, Hampstead. George abandoned wood engraving for the more versatile and profitable mediums of watercolour and oil painting. His apprenticeship in engraving enhanced the accuracy and detail of his paintings. He quickly became on of the most sought after and well known artists in England. George's wife Janet died in March 1883 and George later married Edith Golightly with who he had two girls, Constance Ivy and Edith May. George's paintings often portrayed the upper classes and ultra-fashionable female beauties in opulent settings. His depiction of this beauty was heightened by his attention to detail with dress, and richly decorated interiors.
BEHAM, Barthel
German Northern Renaissance Engraver, 1502-1540 Barthel Beham or Bartel (1502 ?C 1540) was a German engraver, miniaturist and painter. The younger brother of Hans Sebald Beham, he was born into a family of artists in Nuremberg. Learning his art from his elder brother, and Albrecht Durer, he was particularly active as an engraver during the 1520s, creating tiny works of magnificent detail, positioning him in the German printmaking school known as the "Little Masters". He was also fascinated with antiquity and may have worked with Marcantonio Raimondi in Bologna and Rome at some time in his career. In 1525, along with his brother and Georg Pencz, the so-called "godless painters", he was banished from Lutheran Nuremberg for asserting his disbelief in baptism, Christ, or transubstantiation. Although later pardoned, he moved to Catholic Munich to work for the Bavarian dukes William IV and Ludwig X. Whilst there, his exceptional talent established him as one of Germany's principal portrait painters, favoured by distinguished patrons such as Emperor Charles V. According to Joachim von Sandrart, he died in Italy during a trip under the patronage of Duke William.
Cornelis Van Leemputten
(1841-1902) was a Belgian painter. Born in Werchter, Cornelius van Leemputten is predominantly known for his landscapes with sheep, similar to the style of Charles Jacque. He began his painting career without formal training. He was well-known for his barnyard subjects. Leemputten eventually became a pupil of the Academy of Antwerp, though his style remained primarily self-taught. Van Leemputten participated across several international exhibitions and received gold medals in Ghent in 1883, Edinburgh in 1886, Port Adelaide in 1887 and in Berlin in 1896. In 1895, he received the Knight of the Order of Leopold (Belgium).