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 | interior | The trees beside the kerfi river | Farmhouse | Composition with Black, Red, Gray, Yellow, and Blue |
Related Artists:
Fritz Zuber-Buhler
was a Swiss painter integrant of the style Academic Classicism, born in 1822 at Le Locle in Switzerland and died November 23, 1896. At sixteen years old he moved to Paris, France where found his first teacher Louis Grosclaude. Later he studied at the École des Beaux-Arts and then refined his technical skills with François-Édouard Picot, who followed the same lineage of contemporaneous artists such as Leon Perrault, Bouguereau, Alexandre Cabanel and many others. Afterwards he spent some time in Italy searching for inspiration and raise the quality of his art. Then, returning to Paris, he made his debut at the Salon in 1850 exhibiting alongside oil paintings, drawings, pastels and watercolors. His painting Innocence shows his romantic view of the peasant childhood and their environments, expressing nature, softness and intense details. Also his works were drawn by popular themes at that period like mythology, religion and requested portraits. Zuber-Buhler produced exhibitions in the United States, comprising at the Pennsylvania Academy of the Fine Arts and achieved great admiration as a classic academic painter.
mark tobev
Tropicalia, also known as Tropicalismo, is a Brazilian art movement that arose in the late 1960s and encompassed theatre, poetry, and music, among other forms. Tropicalia was influenced by poesia concreta (concrete poetry), a genre of Brazilian avant-garde poetry embodied in the works of Augusto de Campos, Haroldo de Campos, and Decio Pignatari, among a few others. However, Tropicalia is associated almost exclusively with the musical expression movement, both in Brazil and internationally, which arose from the fusion of several musical genres, like Brazilian and African rhythms and rock and roll.
MASACCIO
Italian Early Renaissance Painter, 1401-1428 was the first great painter of the Quattrocento period of the Italian Renaissance. His frescoes are the earliest monuments of Humanism, and introduce a plasticity previously unseen in figure painting. The name Masaccio is a humorous version of Tommaso, meaning "big", "fat", "clumsy" or "messy" Tom. The name was created to distinguish him from his principal collaborator, also called Tommaso, who came to be known as Masolino ("little/delicate Tom"). Despite his brief career, he had a profound influence on other artists. He was one of the first to use scientific perspective in his painting, employing techniques such as vanishing point in art for the first time. He also moved away from the Gothic style and elaborate ornamentation of artists like Gentile da Fabriano to a more natural mode that employed perspective for greater realism. Masaccio was born to Giovanni di Mone Cassa??i and Jacopa di Martinozzo in Castel San Giovanni di Altura, now San Giovanni Valdarno (now part of the province of Arezzo, Tuscany). His father was a notary and his mother the daughter of an innkeeper of Barberino di Mugello, a town a few miles south of Florence. His family name, Cassai, comes from the trade of his grandfather Simone and granduncle Lorenzo, who were carpenters - cabinet makers ("casse", hence "cassai"). His father died in 1406, when Tommaso was only five; in that year another brother was born, called Giovanni after the dead father. He also was to become a painter, with the nickname of "Scheggia" meaning "splinter". The mother was remarried to an elderly apothecary, Tedesco, who guaranteed Masaccio and his family a comfortable childhood.