Mondrian composition
Additionally, he joined several artistic societies in the city and exhibited with them regularly.
Mondrian meaning: Pieter Cornelis Mondriaan (Dutch: [ˈpitər kɔrˈneːlɪs ˈmɔndrijaːn]; 7 March – 1 February ), known after as Piet Mondrian (/ p iː t ˈ m ɒ n d r i ɑː n /, US also /-ˈ m ɔː n-/, Dutch: [pit ˈmɔndrijɑn]), was a Dutch painter and art theoretician who is regarded as one of the greatest artists of the 20th century.
An exhibition of the works of Vincent Van Gogh in deeply influenced Mondrian, moving him away from symbolism to neo-impressionism. It is an indication of how cut off Mondrian was from modern art movements that into his thirties he was still unaware of the modernist revolution. Contact with Jan Toorop, a painter who was influenced by both Fauvism and art nouveau , nudged Mondrian away from the straight depiction of nature.
He began spending summers along the Dutch coast, pushing his art in new directions. His The Red Tree from this time shows the influence of Fauvism on his work, as do dozens of other paintings and watercolors. Similarly, the Mill in Sunlight "explodes" with color, according to Hughes, the critic interpreting the work as an "orgiastic response to Van Gogh.
In Mondrian learned of the philosophies of Helena P. Blavatsky and Rudolf Steiner , theosophy and anthroposophy, and in he joined the Theosophical Society. This involvement with theosophy in particular—a movement based on a mystical insight into the divine nature—convinced Mondrian that his art could express the spiritual as well as the actual.
An intensely spiritual man who felt that he himself had been reincarnated, Mondrian found in theosophy something that could not be found in Protestantism: a search for the ultimate good, a look at the underlying geometrical realities of eternity. Theosophy's reconciliation of science and religion, of Darwin and God, appealed to Mondrian's critical mind.
It is interesting to note that other pioneers of abstraction were equally attracted to what might be considered nontraditional belief systems. Writing in the New Criterion , Hilton Kramer noted that "so prevalent was a steadfast belief in the occult among the pioneers of abstract art —not only Mondrian but also Kandinsky, Malevich, and a good many of their disciples—that we have no alternative but to regard such doctrine as a basic component of their artistic vision.
Mondrian first visited Paris in and, after seeing an exhibition of works by Pablo Picasso and other cubists, he knew he had finally found his home. Now almost forty, Mondrian began to discover his own style, as witnessed in the cubistinfluenced Still Life with Gingerpot of The following year he moved permanently to Paris and. His progress toward abstraction can be seen in a series of paintings of trees from to The tree motif itself became ever more simplified with branches becoming more and more altered and lattice like until finally they were actually a grid against a flat background rather than twisting, organic representations of actual branches.
In Paris as in Amsterdam, Mondrian avoided the nightlife and focused on his work. As early as he ceased to give individual titles to his paintings, instead labeling them "compositions. In World War I caught him visiting in Holland, and he remained there for the remainder of the hostilities, working out the ideas of his new art.
There he met fellow artist Theo Van Doesburg with whom he began the artistic journal De Stijl , which spread the word of Mondrian's new aesthetic: abstraction, exactness, the idea that less is more in art, architecture and design. De Stijl as an art movement became a powerful influence on twentieth-century design.
Slowly between and , Mondrian's paintings lost their physical referents. Even curved lines were banished from his oeuvre as were those on the diagonal. His paintings of a pier and the ocean from to demonstrate a complete abstraction of form using vertical and horizontal lines only with blocks of color organized to his own secret harmony.
Soon even these colors were reduced to the primaries: red, yellow, and blue. Meanwhile he was also sharing his thoughts about the new artistic principles in the journal De Stijl. As Henkels noted, these theories consisted primarily of the idea that "the painting of the future must be the expression of universal cosmic order.
By the end of the war, Mondrian had become a guru of modernity. Returning to Paris, he published Le Neo-plasticisme , a further elucidation of his theories. Indeed, he would continue to write about art for the remainder of his life. As Yve-Alain Bois noted in Artforum International , "Like many of his peers in the first generation of abstract artists, Mondrian felt compelled to write in order to justify his then extremely enigmatic pictorial practice.
However, his texts only exceptionally deal directly with the specifics of his painting: the theory of neo-plasticism covers all aspects of human activity, painting being only one. When the Charleston dance was banned in his native Holland, Mondrian vowed never to return. By Mondrian had broken with De Stijl , primarily because of a single line.
Van Doesburg began to give the diagonal line a principal role in his paintings and design; Mondrian could not tolerate this. For him, the horizontal and vertical were the lines that revealed universal light and harmony. The following year he exhibited in the United States for the first time, and his name also became better known throughout Europe.
His paintings began to fetch ever higher prices and Mondrian—who always lived simply and never married—continued to spread the word of abstraction.
His black grid became bolder, defined by what may be the most archetypal of all his paintings, Composition in Red, Yellow, and Blue from Yet in abstraction, Mondrian also represented meaning. According to Perl, "there's nothing that Mondrian doesn't express between and , whether it's serenity and delicacy, weight and speed, or mystery, anxiety, chaos.
Information Services Department. Retrieved 6 March Retrieved 28 September The Economist. Retrieved 9 June References [ edit ].
Pieter cornelis mondriaan biografía en
Apollonio, Umbro Piet Mondrian , Milano: Fabri Complete Mondrian. Blotkamp, Carel Mondrian: The Art of Destruction. London: Reaction Books Ltd. OCLC Bois, Yve-Alain Painting as model 1. Cambridge, Mass. Boulez, Pierre ; Cage, John Nattiez, Jean-Jacques ed. The Boulez-Cage Correspondence. Translated by Samuels, Robert.
Cambridge [England]: Cambridge University Press. Busignani, Alberto Translated by Beamish, Caroline. Marwick, Arthur Washington, D. Cooper, Harry Deicher, Susanne Piet Mondrian, — Structures in Space. Cologne: Benedikt Taschen. Larousse and Co. Mondrian, Piet. In Dictionary of Painters p. New York: Larousse and Co. Piet Mondrian. Mondrian Great Modern Masters.
Gamwell, L. United Kingdom: Princeton University Press. Gardner, Helen Gardner's art through the ages: the Western perspective 12 ed. Gooding, Mel Abstract Art. Movements in Modern Art. Guerrand, Jean R. Paris: Oliver Orban. Hughes, Robert The Shock of the New. British Broadcasting Corporation. Howarth, Lucy Marlow Moss. London: Eiderdown Books.
Introvigne, Massimo Black Mirror 0: Territory. Fulgur Esoterica. Janssen, Hans Mondriaan in het Gemeentemuseum Den Haag. Leiden: Brill. Milner, John London: Phaidon. Mondrian 1.
Pieter cornelis mondriaan biografía
Mondrian, Piet Documents of 20th-Century Art. Boston: G. Hall and Co. Reprinted , London: Thames and Hudson. Schapiro, Meyer Mondrian: On the Humanity of Abstract Painting. New York: George Braziller. Sellon, Emily B. In Faivre, Antoine; Needleman, Jacob eds. Modern Esoteric Spirituality. World Spirituality. Seuphor, Michel Piet Mondrian: Life and Work.
New York: H. Stacey, Peter F. Boulez and the modern concept. Lincoln: University of Nebraska Press. Strauss, Walter A. JSTOR Following his formative training in art, during the period, he painted in the Amsterdam and Utrecht vicinity, focusing on the Amstel and Vecht river areas. These areas were considered, especially in those days, quite colorful and picturesque.
During this period he also satisfied his curiosity about other countries by visiting England in and Spain during the to period. During the period he lived and painted in the village of Uden in the southern Dutch province of North Brabant. In he moved back to Amsterdam and had his studio, first on the Rembrandtplein and later on the Albert Cuypstraat.
Mondrian had his first significant group exhibition in the Amsterdam Stedelijk Museum [Amsterdam Municipal Museum] in The exhibit was considered sensational and it put Mondrian's name on the map. In Mondrian moved to Paris to be able to work in the proximity of other contemporary artists, who he felt could help him further develop his style.
During a visit to his home in Holland in , the First World War started and he was unable to return to Paris.
The next four years he remained in his home country working in various locations but mostly in an artist colony in the town of Laren. There he met his contemporaries, the artists VanderLeck and VanDoesburg. The mutual interaction among the three artists resulted in their decision in to publish a modernistic art journal which they named "De Stijl", loosely translated as "Artistic Style".
The three artists became the three main contributors to the journal and Mondrian wrote several articles for it. In he wrote the most lasting and impressive article entitled "Neoplasticism", which became a classic in European art development. The journal "De Stijl" influenced art and the theory of art, including such movements as the Bauhaus movement, as well as architectural styles and abstract art.
Mondrian participated in his first American group exhibit in Primeras obras [ editar ]. Pinturas abstractas del periodo entre [ editar ]. Reclamaciones por arte saqueado por los nazis [ editar ]. Referencias [ editar ]. The Guggenheim Museums and Foundation. Consultado el 4 de junio de New Netherland Institute.
Consultado el 28 de octubre de The Shock of the New on Youtube.