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 type of Wall works did Mondrian create?

To hide the studio's structural flaws quickly and inexpensively, he tacked up large rectangular placards, each in a single color or neutral hue.



Answer the question at the end by quoting:

Horace Mann (May 4, 1796 - August 2, 1859) was an American educational reformer and Whig politician dedicated to promoting public education. A central theme of his life was that "it is the law of our nature to desire happiness. This law is not local, but universal; not temporary, but eternal. It is not a law to be proved by exceptions, for it knows no exception."
In September 1852, he was nominated for governor of Massachusetts by the Free Soil Party, and the same day was chosen president of the newly established Antioch College at Yellow Springs, Ohio. Failing in the election for governor, he accepted the presidency of the college, in which he continued until his death. There he taught economics, philosophy, and theology; he was popular with students and with lay audiences across the Midwest who attended his lectures promoting public schools. Mann also employed the first woman faculty member to be paid on an equal basis with her male colleagues, Rebecca Pennell, his niece. His commencement message to the class of 1859 was to "be ashamed to die until you have won some victory for humanity".  Antioch College was founded by the Christian Connexion which later withdrew its financial support causing the college to struggle for many years with meager financial resources due to sectarian infighting. Mann himself was charged with nonadherence to sectarianism because, previously a Congregationalist by upbringing, he joined the Unitarian Church.  He collapsed shortly after the 1859 commencement and died that summer. Antioch historian Robert Straker wrote that Mann had been "crucified by crusading sectarians." Ralph Waldo Emerson lamented "what seems the fatal waste of labor and life at Antioch." Mann's wife, who wrote in anguish that "the blood of martyrdom waters the spot," later disinterred his body from Yellow Springs. He is buried in the North Burial Ground in Providence, Rhode Island, next to his first wife, Charlotte Messer Mann. (Charlotte Messer Mann was the daughter of Asa Messer, an early president of Brown University.)

What else did he do in his last years ?
Mann himself was charged with nonadherence to sectarianism because, previously a Congregationalist by upbringing, he joined the Unitarian Church.