Piet Mondrian

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Pieter Cornelis Mondriaan (Dutch: [pit krne;n]) a Dutch painter and art theoretician who is known as one of the twentieth century's greatest artists (mne]] born in 1906. Mondrian, who died on March 7th – 1 February 1944, 1907–1940) was a Dutch painter and art theoretician who is best known as one of the twentieth century (M' He is regarded as one of the twentieth-century abstract artists, as he changed his artistic direction from figurative painting to an increasingly abstract style until he came to a point where his artistic vocabulary was reduced to mere geometric elements.

Mondrian's art was strongly utopian and was concerned with a quest for universal values and aesthetics. In 1914, he declared, "Art is greater than reality" and has no apparent correlation to reality. Since art is so contrary to the spiritual, one will make as little use as possible of reality. We find ourselves in the presence of an abstract art work. Art should be above average, otherwise it will have no value for man." His art, on the other hand, remained grounded in nature.

He was a participant in the De Stijl art movement and group, which he co-founded with Theo van Doesburg. He invented Neoplasticism, a non-representational style. This was the introduction of 'pure plastic art,' which he believed was important in order to create 'universal beauty.' Mondrian eventually decided to limit his formal vocabulary to three primary colors (red, blue, and yellow), the three main colors (black, white, and yellow) and the two main directions (horizontal and vertical). Mondrian's arrival in Paris in 1911 marked the beginning of a period of profound transition. He participated in Cubism experiments with the intention of integrating himself into the Parisian avant-garde by removing an 'a' from his Dutch name (Mondriaan).

Mondrian's art had a major influence on twentieth-century art, influencing not only abstract painting but also a number of major styles and art movements (e.g. Color field painting, Abstract Expressionism, and Minimalism are two of the painting styles, but also fields outside of painting, such as design, architecture, and fashion, are included in this segment. "Mondrian has come to mean Modernism," design historian Stephen Bayley said. The High Modernist ideal is represented by his name and his work. I don't like the word "iconic," so let's say that he has become totemic, a totem for everything Modernism set out to be."

Life

Mondrian was born in Amersfoort, the second of his parents' children. He was descendant of Christian Dirkzoon Monderyan, a Jesuit who lived in The Hague as early as 1670. Pieter Cornelius Mondrian, the family's father, was appointed head teacher at a local primary school in Winterswijk. Mondrian was introduced to art from an early age. His father was a qualified drawing teacher, and the younger Piet, Fritz Mondrian (a pupil of Willem Maris of the Hague School of Artists), enjoyed painting and drawing along the river Gein.

Mondrian was accepted into the Academy of Fine Art in Amsterdam, despite a stringent Protestant upbringing in 1892. He had already been licensed as a tutor. He began his teaching in primary education, but he also enjoyed painting. The bulk of his art from this period is naturalistic or Impressionistic, with a large number of landscapes. These pastoral images of his homeland country depict windmills, fields, and rivers, first in the Dutch Impressionist style of the Hague School and then in a variety of styles and techniques that point to his quest for a personal style. These paintings are representational, and they show the influence that various artistic movements had on Mondrian, including pointillism and Fauvism's vivid colors. He had his first exhibition in 1893.

A number of paintings from this period are on display in the Gemeentemuseum Den Haag, including such Post-Impressionist works as The Red Mill and Trees in Moonrise. Evening (Avond) (1908), a painting depicting a tree in a field at dusk, also augurs future changes by using a palette made up mainly of red, yellow, and blue. Although Avond's abstract painting is limited, it is the first Mondrian painting to emphasize primary colors.

A series of canvases from 1905 to 1908 depicting dim scenes of indistinct trees and houses reflecting in still water, Mondrian's earliest paintings exhibiting a degree of abstraction. Although the viewer is focusing on the content rather than the content, these paintings are still grounded in nature, and it is only the knowledge of Mondrian's later works that leads to the quest for the source of his future abstraction.

Mondrian's art was closely connected to his intellectual and philosophical studies. He became involved in the late 19th century's theosophical movement initiated by Helena Petrovna Blavatsky, and in 1909, he joined the Dutch branch of the Theosophical Society. Blavatsky's artistic work, as well as Rudolf Steiner's Anthroposophy, had a major influence on his aesthetic development. Blavatsky believed that it was possible to have a more profound knowledge of nature than that obtained by empirical means, and that a significant part of Mondrian's work was inspired by his quest for this spiritual insight. He wrote "I got everything from the Secret Doctrine" in 1918, referring to Blavatsky's book. Mondrian wrote a letter to Steiner in 1921 that his neoplasticism was "the art of the foreseeable future for all true Anthroposophists and Theosophists." In subsequent years, he maintained his Theosophist commitment, but he also believed that his own artistic development, neoplasticism, would eventually be part of a larger, ecumenical spirituality.

The 1911 Moderne Kunstkring exhibition in Amsterdam inspired Mondrian and his later work. In two versions of Still Life with Ginger Pot (Stilleven met Gemberpot), he's on a quest for simplification. The 1911 version is Cubist; in the 1912 version, the objects are reduced to a round shape with triangles and rectangles.

Mondrian left "Mondriaan" for "Mondriaan" in 1911 and changed his name to emphasize his expulsion from the Netherlands and his insertion into the Parisian avant-garde. The influence of Pablo Picasso and Georges Braque's Cubist style in Mondrian's work was evident right away. Paintings such as The Sea (1912) and his various studies of trees from that year still have a measure of representation, but geometric designs and interlocking planes dominate their displays more. Although Mondrian was keen to incorporate the Cubist influence into his art, it seems that Cubism was a "port of call" on his creative journey rather than a destination. Piet Mondrian's Cubist period lasted from 1912 to 1917.

Unlike the Cubists, Mondrian continued to reconcile his painting with his spiritual passions, and in 1913 he began to combine his art and his theosophical studies into a work that represented his final departure from representational painting. Though Mondrian was visiting the Netherlands in 1914, World War I took place, requiring him to remain in the country for the duration of the conflict. He stayed at the Laren artists' colony, where he encountered Bart van der Leck and Theo van Doesburg, who were both embarking on their own personal journeys toward abstraction. Van der Leck's use of only primary colors in his art greatly inspired Mondrian. "My method, which was more or less Cubist, and consequently less pictorial," Mondrian wrote after a meeting with Van der Leck in 1916, came under the influence of his precise method." Mondrian's brother, Van Doesburg, founded De Stijl (The Style), a De Stijl Group journal in which he first published essays defining his theory, which he described as neoplasticism.

In twelve installments between 1917 and 1918, Mondrian published "De Nieuwe Beelding in de schilderkunst" ("The New Plastic in Painting." This was his first big attempt to articulate his artistic theory in writing. Mondrian's best and most cited version of this belief comes from a letter he wrote to H. P. Bremmer in 1914: a letter he wrote to him in 1914.

Mondrian's signature style developed over the past two decades, transcending the Classical, Platonic, Euclidean worldview in which he simply concentrated on his now iconic, horizontal and vertical black lines, forming squares and rectangles filled with primary hues.

Mondrian returned to France, where he would remain until 1938, after World War I came to an end in 1918. He flourished and fully adopted the art of pure abstraction for the remainder of his life, embedding in the postwar Paris culture of artistic discovery. Mondrian began making grid-based paintings in late 1919, and the style for which he came to be renowned began in 1920.

The lines delineating the rectangular forms in the early paintings of this style are relatively thin, not black. The lines also tend to fade as they approach the painting's edge rather than abruptly. The forms themselves, smaller and more numerous than in later paintings, are packed with primary colors, black, or gray, and nearly all of them are colored; only a few are left white.

Mondrian's paintings exhibit what is to casual observers a definitive and mature form during late 1920 to 1921. The forms, which are both bigger and less number, are now divided, and more of the forms are left black, although some of them are still white. This was not the end of his artistic evolution, but it was not the end of his journey. Mondrian's work continued to evolve during his time in Paris, even though the refinements became subtler.

Many, but not all of the black lines, fell short at a seemingly arbitrary distance from the canvas's edge, but the geometric shapes remained unchanged. Here, too, the rectangular shapes are largely colored. As the years progressed and Mondrian's work progressed, he began to extend all of the lines to the canvas's edges, but he began to use less colored fabric, favouring white instead.

The trends are particularly evident in Mondrian's "lozenge" paintings, which began to appear regularly in the mid-1920s. The "lozenge" paintings are tilted 45 degrees, resulting in a diamond shape on the canvases. Schilderij No. 2 is one of these rare items. Lozenge with Two Lines and Blue (1926). This painting is one of Mondrian's most minimalist canvases, mainly consisting of two black, perpendicular lines and a small blue triangular shape. The lines run all the way to the canvas's edges, almost giving the appearance that the painting is a piece of a larger work.

Although one's interpretation of the painting is hampered by the glass protecting it, and by the fact that age and handling have clearly taken on the canvas, a close examination of this painting may reveal a little of the artist's technique. As one might expect, the painting is not made up of perfectly flat planes of color. Subtle brush strokes are present throughout. The artist seems to have used different materials for the various elements. The black lines are the flattest elements, with the least depth. The colored forms have the most distinct bush strokes, with none of them running in a single direction. However, the most interesting, however, are the white forms, which have obviously been painted in layers, and using brush strokes in varying directions. This gives the white forms a greater sense of depth, as they appear to overwhelm the lines and the colors, which, in fact, was doing, as Mondrian's paintings of this period become more dominated by white space.

Katherine Dreier, co-founder of New York City's Society of Independent Artists (along with Marcel Duchamp and Man Ray), visited Piet Mondrian's studio in Paris and purchased one of his diamond works, Painting I. This was then on view in the Brooklyn Museum's first major exhibition of modern art in America since the Armory Exhibition. "Holland has produced three outstanding painters whose, though an logical representation of their own country, soared above it due to their personalities, vigor of their personalities – the first was Rembrandt, the second was Van Gogh, and the third is Mondrian."

As the years progressed, lines began to take precedence over Mondrian's paintings' designs. He began to use thinner lines and double lines more often, despite only having a few minor colored styles, if any at all. Mondrian was particularly excited because they seemed to have given his paintings a new energy that he was eager to discover. The introduction of the double line in his art was influenced by his mentor's and contemporary Marlow Moss.

Three of Mondrian's works were on display in the United Kingdom at Oxford, London, and Liverpool from 1934 to 1935.

Mondrian left Paris in September 1938 in the face of increasing national Socialism and moved to London. He left London for New York City in 1940, where he would remain until his death. Any of Mondrian's later works are difficult to place in terms of artistic growth because there were quite a few canvases that he started in Paris or London but then finished in Manhattan months or years later. The finished works from this period are visually crowded, with more lines than any of his earlier productions, and in a similar arrangement that is almost cartographical in appearance. He spent many hours painting on his own until his hands blistered, and he'd often cries or made himself sick, as well as he'd been sick.

Mondrian's Lozenge Composition With Four Yellow Lines (1933), a simple painting that created thick, colored lines rather than black ones. This was dormant in Mondrian's art until he landed in Manhattan, when he began to embrace it with abandon. In some examples of this new direction, such as Composition (1938) / Place de la Concorde (1943), he appears to have started unfinished black-line paintings from Paris and finished them in New York by adding short perceptual lines running between the longer black lines or from a black line to the canvas's edge. The newly colored areas are thick, almost bridging the gap between lines and forms, and it's grating to see color in a Mondrian painting that is unbounded by black. Long lines of red are mixed with long black lines, giving a new sense of depth by the addition of a colored layer on top of the black one. Composition No. 2 (his painting) No. 1 is a painter. Mondrian's radical yet classical approach to the rectangle was clearly defined by primary colors, white ground, and black grid lines. 1939-1942, a.k.a.

Mondrian, 40, departed from Liverpool on September 23, 1940, aboard the Cunard White Star Line ship RMS Samaria (1920). Mondrian's latest canvases are even more startling, hinting at the start of a new idiom that was cut short by the artist's death. New York City (1942) is a complex lattice of red, blue, and yellow lines, with occasional interlacing to give a greater sense of depth than his previous works. An unfinished 1941 version of this work uses strips of painted paper tape, which the artist could reorder at will to try new styles.

His painting Broadway Boogie-Woogie (1942–43), which was on display at The Museum of Modern Art in Manhattan, was a seminal work in abstract geometric painting. The piece is made up of a slew of shiny squares of bright color that leap off the canvas and then shimmer, bringing the viewer into those neon lights. Mondrian repainted former solid lines in this painting and the incomplete Victory Boogie Woogie (1942-1944). In this painting and the unfinished Victory Boogie Woogie (1942-1944), Mondrian replaced solid lines with lines made from small adjoining rectangles of color created in part by using small pieces of paper tape in various shades. Larger unbounded rectangles of color punctuate the scheme, with some featuring smaller concentric rectangles within. Although Mondrian's works of the 1920s and 1930s had an almost scientific austerity about them, these are colorful, lively paintings based on the upbeat music that inspired them and the city in which they were created.

The forms have indeed resurgentered the role of the lines in these final works, opening a new door for Mondrian's aspiration as an abstractionist. The Boogie-Woogie paintings were clearly more indicative of a revolutionary change than an evolutionary one, reflecting Mondrian's most significant change since his abandonment of representational art in 1913.

Andere Tijden, the Dutch television station, found the first known movie clip with Mondrian in 2008. The film footage was discovered at the conclusion of a two-year research project on the Victory Boogie Woogie Woogie. The painting was found to be in excellent condition, and Mondrian painted the entire work in a single session, according to the report. It was also discovered that Mondrian modified the composition slightly right before his death by using small pieces of colored tape.

When Piet Mondrian, a 47-year-old boy from the Netherlands, left Paris for the second and final time in 1919, he began to create his studio a nurturing environment for paintings, he had neoplasticism's underlying beliefs, which he had been writing for two years. He tacked up several rectangular placards, each in a single colour or neutral shade, to hide the studio's structural flaws quickly and cheaply. The walls were accented by smaller colored paper squares and rectangles assembled together. Then began a long line of painting. He addressed the walls once more, repositioning the colored cutouts, increasing their number, changing the tone and space, bringing new tensions and balance, bringing new tensions and balance. He had a creative program in which a period of painting turned into a period of experimentally regrouping the smaller papers on the walls, a process that directly influenced the next phase of painting. It was a pattern he followed for the remainder of his life, from Paris to London's Hampstead in 1938 and 1940, and from Manhattan to Manhattan.

Mondrian opened his second and final Manhattan studio in September 1943 at 15 East 59th Street, hoping to recreate the atmosphere he had experienced throughout his youth, as well as the 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, which he created and crafted meticulously from salvaged orange and apple crates. In the same brilliant primary red he applied to the cardboard sheath he made for the radio-phonograph that released his beloved jazz from well-traveled recordings, he glossed the top of a white metal stool. Visitors to this last studio rarely saw more than two new canvases, but they learned that eight large blocks of paper he had tacked and retacked to the walls in ever-changing relationships constituted an environment that was both kinetic and serene, stimulating and restful. Mondrian said it was the most suitable space he had inhabited. As he died in February 1944, he was there for only a few months.

Mondrian's companion and sponsor, Harry Holtzman, and another painter friend, Fritz Glarner, meticulously photographed the studio on film and still photographs before opening it to the public for a six-week exhibition. Holtzman (also Mondrian's heir) traced the wall compositions precisely, assembled exact replicas of the space each had occupied, and affixed to each of the original cut-out pieces before dismantling the studio. These portable Mondrian creations have earned the title "The Wall Works." Since Mondrian's death, they have been on display at the Museum of Modern Art in Manhattan (1983 and 1995), once in SoHo (1994), and at the Akademie der Kunst in Berlin (1992). His work was also on display at the Whitechapel Gallery in London, which opened in 1955, and it was on view from August to September.

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