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Mondrian follows the pure traces of Theosophy

Round 1906, Pieter Cornelis Mondriaan, born in 1872 in Amersfoort (Netherlands) is a reasonably younger Dutch painter who cultivates the outside on typical grounds: farms, timber, ponds, canals, sea and mills.

As he found what had occurred in France for the reason that 1870s, from Monet to his compatriot Van Gogh, he developed in direction of a extra artificial therapy of shapes in bigger and longer strokes and in direction of extra intense colours. However, at this date, whereas Matisse and Derain are the beasts, this type is just not revolutionary.

In 1913, in Paris, Piet, who grew to become Mondrian by eradicating an a, painted the Desk no 1 or the Composition no 2, constructions of barely bluish or pinkish ocher and grey surfaces. They’re outlined by vertical and horizontal black traces, extra not often indirect or curved. These are typically steady and create a grid; typically incomplete, letting the colour escape on the edges. Guillaume Apollinaire acknowledges a "Very summary cubism" and specifies that “Mondrian, descended from the Cubists, doesn’t imitate them. He appears above all to have been influenced by Picasso, however his character stays intact ".

Article reserved for our subscribers Learn additionally On the Marmottan-Monet Museum, the pictorial metamorphoses of Piet Mondrian

Pressured by the battle to stay within the Netherlands from 1914 to 1919, Mondrian painted there from 1916 on compositions fabricated from vertical and horizontal black traces intersecting at proper angles and integrating squares and rectangles into his geometry, every of them one pure coloration. Apollinaire, who died in November 1918, didn’t see how Composition with coloration plans from 1917 or the Composition in tile with grey traces of 1918 proved him proper: Mondrian went via Cubism, however to go elsewhere.

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It stays to be understood how, in half a dozen years, a peaceable landscaper turns right into a rigorous summary, on the threat of dropping popularity and amateurs.

Due to his discovery of cubism in Paris in 1912? Rationalization is important, however inadequate. There have been then many converts to cubism. They paint nonetheless lifes – Juan Gris -, the Parisian panorama – Robert Delaunay -, machine males – Fernand Léger -, a bicycle owner – Jean Metzinger. Futurists ask sharp angles for the means to recommend motion. However they preserve the guitar, the person's head, the bicycle wheel and the Eiffel Tower. Not Mondrian: as early as 1913, he now not consented to the tree and the facade besides tiny allusions, which disappeared the next 12 months.

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