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 :. | Idyll | Composition NO.ii Composition with Blue and Red | New York City I | French mill near the river | Mill by Sunlight (nn02) |
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Robert Cleveley
British, 1747-1809,was an English maritime painter. His father and twin brother (John Cleveley the Elder, c.1712?C1777, and John Cleveley the Younger, 1747?C1786) were also artists, with John the Younger (and possibly Robert too, to judge from his style) gaining some training in watercolours from Paul Sandby, previously a teacher at the Royal Military Academy, Woolwich. John the Elder had tried and failed to make a living in working in a dockyard, and so did Robert, as a caulker. However, mocked by other dockyard workers for wearing gloves whilst working, John did not enjoy his time there, giving it up and in 1770 volunteering for the navy as a clerk. His first service as a clerk was briefly under Captain William Locker (who acted as patron to artists probably known to John the Elder), then soon afterwards under Captain George Vandeput on his voyage in the Asia to the West Indies and North America, during which time Vandeput became a lifelong friend. The Asia returned in 1777, and from then to the end of his life Robert followed a double career as purser on board various ships stationed in the Home Fleet (though most probably exercising his functions through a deputy for some or all of the time) and as a marine painter. This meant he could exhibit his works as "Robert Cleveley of the Royal Navy". First exhibiting at the Royal Academy in 1780, his specialism was naval battles (though he also produced pictures of royal naval occasions, such as his "View of the Fleet at Spithead Saluting George III at his Review in 1793", now at the National Maritime Museum) and many of his works were reproduced as engravings. Like his brother John, he also exploited their brother James' presence as a carpenter on Captain Cook's third voyage to gain access to art produced on the voyage and to produce art to cash in on the popular demand for South Sea images (eg a 1789 print of A view of Botany Bay). He did, however, still make occasional voyages with Vandeput, such as when he served as eassistant to the clerk of the kitchene in the royal entourage when the royal yacht Princess Augusta (under Vandeput) took Prince William Henry, later Duke of Clarence, to Hanover in July and August 1783.
WERFF, Pieter van der
Dutch painter (b. 1665, Kralingen, d. 1722, Rotterdam)
Girolamo Macchietti
Italian Painter , Firenze1535-1592 was an Italian painter active in Florence, working in a Mannerist style. He was a pupil of Michele di Ridolfi. During 1556-62, worked as an assistant to Giorgio Vasari in the decoration of the Palazzo Vecchio, where he worked with Mirabello Cavalori. He participated in the Vasari-directed decoration of the Studiolo of Francesco I with two canvases, one relating a Jason and Medea (1570) and the other a Baths of Pozzuoli (1572). He also painted an altarpiece on the Martyrdom of Saint Lawrence for Santa Maria Novella. In 1577, he completed a Gloria di San Lorenzo for Empoli Cathedral. He traveled to Rome and spent two years in Spain (1587-1589).