The Art Institute of Chicago, Henri Cartier-Bresson and the Art and Photography of Paris, September 20, 2008–January 4, 2009. Paris, Centre Pompidou, Musée National d'art moderne, Mondrian, December 1, 2010–March 21, 2011, p. 223. Art Institute of Chicago, Revoliutsiia! Demonstratsiia! Soviet Art Put to the Test, October 29, 2017–January 15, 2018, cat. 540. Consigned to Galerie de "L'Effort Moderne" (Léonce Rosenberg), Paris, 1921-22. Jakob von Domselaer and Maaike von Domselaer-Middelkoop, Bergen, the Netherlands, 1922(? )-1940/45. John Rädecker, Groet, the Netherlands, 1940/45-c. 1948. John L. Senior, Jr., New York, by 1949-1956 [letter from Sidney Janis Gallery in curatorial file]. Sidney Janis Gallery, New York, 1956. Edgar Kaufmann, Jr., New York, March 1, 1957; given to the Art Institute, 1957. Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email. Information about image downloads and licensing is available here.
Around 1932 Mondrian began to seek a new 'dynamic equilibrium' in his work. In a text called 'The True Value of Oppositions in Life and Art', written in 1934, he explained his new ideas: Intuitively, man wants to be good: unity, equilibrium - especially for himself. Thus he falls back into the search for false ease and static equilibrium which is inevitably opposed to the dynamic equilibrium of true life … It is quite natural that he seeks only 'the best' among the oppositions that life offers, and this is what he experiences as unity. However, life shows us that its beauty resides in the fact that precisely these inevitably disequilibrated oppositions compel us to seek equivalent oppositions: these alone can create real unity, which until now has been realised only in thought and art. (Holzmann and James, pp. 283-5) In Mondrian's later works, such as Composition B with Red, lines no longer simply denoted the boundaries of the coloured planes. Instead they traversed the length and breadth of the canvases and became the most active elements in the compositions.
#4 The Gray Tree Year: 1912 The Gray Tree (1912) This painting was created by Mondrian at a time when he was beginning to experiment with Cubism. The tree is subtly oval in form following the Cubist practice seen in works by Pablo Picasso and Georges Braque. The Gray Tree is one of Mondrian's most famous works and an important painting with regard to the development of his career as it exemplifies his early transition toward abstraction and his application of Cubist principles to represent landscape. Mondrian's interest in reducing form to a structured organization of lines can also be seen in this work. #3 Composition II in Red, Blue, and Yellow Year: 1930 Composition II in Red, Blue, and Yellow (1930) This painting was created at a time when Mondrian's art had reached a high-point of purity and sobriety. Through the previous decade he had evolved his style while creating several neoplastic masterpieces. In this work, Mondrian makes the elements seem to grow further beyond the edge of the canvas in rhythmic expansion.
We are based in Europe, and quality is our highest priority.
These artists cannot be considered the same. For example, not all De Stijl artists produced work that mimicked Mondrian. It was more a group of individual artists/architects who applied similar and distinct techniques to their work in hopes of achieving a similar, theoretical goal. Mondrian attempts to define the ambition of De Stijl artists in his personal artistic manifesto, Neo-Plasticist in Painting (1917). To create the essence of life itself through abstraction, which relies on what he refers to as the universal means of expression: straight lines and primary colors. [4] This essence of life can be illustrated by transcending the particular to express the universal. Mondrian claimed the particular to be associated with a Romantic, subjective appeal. Thus, the universal must be something that goes beyond the [4] surface of nature. Mondrian's art also had a clear spiritual quality to it. He practiced Theosophy, a self-styled universal religion rooted in mystic, oriental interpretation that promoted opposites as a form of unity.
People in America came in contact with him, started to realize really what his work meant. But more important maybe, all the American artists that came after him reflected on his work -- Pollock, Barnett Newman, Rothko, those three American artists that really made modern art in America. It's all in a sense, in reflection to Mondrian. " Not just art reflected Mondrian. Variations on his work have appeared on a range of products ever since -- perhaps most famously on that Yves Saint Laurent dress, designed in the '60s, and seeming as stylish today as when Mondrian created the idea a century ago. Models present 1965 dresses inspired by painter Piet Mondrian during Yves Saint Laurent's farewell show at the Georges Pompidou Center in Paris, Jan. 22, 2002. AP Photo/Remy de la Mauviniere "The image is so strong, that it can influence fashion designers, graphic designers, architects, city planners, " said Tempel. No wonder the people of The Hague have embraced Piet Mondrian again … all of them.