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April 5, 2017 | Individual Artists | By admin | 0 Comments

By Italo Tomassoni

Piet Mondrian performed an immense position within the improvement of summary paintings in the course of the first 1/2 the twentieth century. because the relocating spirit of De Stijl, the main austere of all abstractionist activities, Mondrian constructed and conducted his suggestion of paintings nearly in isolation he owed little to the other artist or college of portray. The natural geometrical works of his mature kind, frequently composed solely of squares of shiny reds and yellows conscientiously balanced with parts of white and intersected by means of vertical or horizontal traces, are the direct expression of his trust in an paintings free of subjectivity—an artwork that used to be the expression of a common unchangeable fact.

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The following statement by Mondrian is an example of the analysis of the of space in the plane: 'Observing the sea, the sky and the sought to indicate their plastic function with a multiplicity of crossing verticals and horizontals. ' In these paintings the particular, for instance the waves of the sea at Scheveningen, becomes more and more rarefied through cosmic feeling permeated with light. 1 —! - li-i t PI 22 Composition with Lines 1917, oil on canvas 42^ x 42^ in (108 x 108 cm) Kròller-Miiller Museum, Otterlo matical reality ('the great internal law') which although this reality in Blue on canvas (61 x 48 cm) 1917, oil 24 x 18J in Kròller-Miiller Museum, Otterlo is hidden behind appearances, can be seen through them.

From these works there emerges a recurring taste for the episodic in nature, although the figurative structure does not push the image in the direction of narrative, or of enquiry into the inner consciousness. The values may be episodic, but they are far from being accidental. These patterns of PI. 8, Figs. 4, 8 reductions of landscape are worked out as a pretext for exemplifications or general problem and of a total reality which the episode gives rise to, and to which it is precisely referred.

In nature', wrote Mondrian in 1926, 'relations are veiled by matter appearing as form, colour, or its natural properties. This "morphoplasticism" was unconsciously followed in the past by all the arts. Thus, in the past, art was "after nature". For centuries, painting plastically expressed relations through natural form and colour, until it came, in our day, to the plasticism of relations alone. ' 24 Mondrian 23 24 therefore replaced the laws of symmetry and three-dimensional M. J. Schoenmaekers, The New Quoted by M.

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