Question:
Javier Adelmar Zanetti was born in Buenos Aires with Italian origins to working-class parents and grew up in the harbour area in the Dock Sud district, one of the city's most notorious areas. His father Rodolfo was a bricklayer and his mother Violeta Bonnazola was a cleaner. He began playing football on a field in the city suburbs, maintaining the pitch in his spare time. When he was a teenager, he tried out for local club Independiente's youth academy but was ultimately rejected and told that he lacked the physique to succeed in the game.
After the arrival of Maicon at the beginning of the 2006-07 season, Zanetti was moved from the right-back position into midfield. He ended a four-year goal drought when he scored on 5 November 2006 at a home match against Ascoli, having previously scored on 6 November 2002 at an away match against Empoli. On 27 September 2006, against Bayern Munich, Zanetti played his 500th professional match for Inter and on 22 November 2006, he appeared in his 100th UEFA match, against Sporting Clube de Portugal.  Zanetti celebrated his 600th match for Inter on 24 September 2008 with a 1-0 win over newly promoted Lecce. Minutes before the match, he was presented with a commemorative plate by former vice-captain Ivan Cordoba to mark the occasion.  Though Zanetti is more often classified as a defender, he played mostly in midfield during the first half of the 2008-09 season. For the last several weeks of October 2008, with Inter coach Jose Mourinho facing a midfield crisis due to injuries to key midfielders Esteban Cambiasso and Sulley Muntari, he was moved again to the midfield for the matches against Genoa and Fiorentina. During that period, Mourinho played him in the midfield due to the presence of Maicon, Lucio, Walter Samuel and Cristian Chivu in the back four.  The 2009-10 season began well for Zanetti and Inter, especially after a 4-0 thrashing of crosstown rivals Milan in the Derby della Madonnina. In the match against Genoa on 17 October, he started off the counter-attack that led to Inter's second goal after dispossessing a Genoa player. Inter became the first team of the season to win by a five-goal margin. On 24 October, he reached Giacinto Facchetti's record of 476 Serie A appearances when he turned out for the match against Catania, which ended in a 2-1 win for the Nerazzurri. He also currently holds a club record of 149 consecutive appearances.  Inter won the 2010 Champions League final 2-0 against Bayern Munich on 22 May 2010. This was Zanetti's 700th appearance for Inter, and it made him the first player to captain an Italian club to a treble of the Scudetto, Coppa Italia and Champions League.
Answer this question using a quote from the text above:

Did he receive any awards

Answer:
player. Inter became the first team of the season to win by a five-goal margin.

Answer the question at the end by quoting:

Pieter Cornelis "Piet" Mondriaan, after 1906 Mondrian (; Dutch: ['pit 'mondrija:n], later ['mondrijan]; 7 March 1872 - 1 February 1944), was a Dutch painter and theoretician who is regarded as one of the greatest artists of the 20th century. He is known for being one of the pioneers of 20th century abstract art, as he changed his artistic direction from figurative painting to an increasingly abstract style, until he reached a point where his artistic vocabulary was reduced to simple geometric elements. Mondrian's art was highly utopian and was concerned with a search for universal values and aesthetics. He proclaimed in 1914: Art is higher than reality and has no direct relation to reality.
When the 47-year-old Piet Mondrian left the Netherlands 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 neoplasticism 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. 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 the age of 71 in the fall of 1943, Mondrian moved into his second and final Manhattan studio at 15 East 59th Street, and set about to recreate 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 inhabited. He was there for only a few months, as he died in February 1944.  After his death, Mondrian's friend and sponsor in Manhattan, artist Harry Holtzman, and another painter friend, Fritz Glarner, carefully documented the studio on film and in still photographs before opening it to the public for a six-week exhibition. Before dismantling the studio, Holtzman (who was also Mondrian's heir) traced the wall compositions precisely, prepared exact portable facsimiles of the space each had occupied, and affixed to each the original surviving cut-out components. These portable Mondrian compositions have become known as "The Wall Works". Since Mondrian's death, they have been exhibited twice at Manhattan's Museum of Modern Art (1983 and 1995-96), once in SoHo at the Carpenter + Hochman Gallery (1984), once each at the Galerie Tokoro in Tokyo, Japan (1993), the XXII Biennial of Sao Paulo (1994), the University of Michigan (1995), and - the first time shown in Europe - at the Akademie der Kunste (Academy of The Arts), in Berlin (22 February - 22 April 2007).

What were some other exhibits that features his works?
Since Mondrian's death, they have been exhibited twice at Manhattan's Museum of Modern Art (1983 and 1995-96),