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Composition with Large Red Plane, Yellow, Black, Grey and Blue is Mondrian's first painting after the publication of this essay, visually representing these ideals by stripping away all recognizable forms of physical objects and even the outlines of individual brushstrokes.
The yellow sky is blocked by a central cloud in the painting. The colors of the sky shift from the realistic towards the abstract with bold colors, to emphasize a spiritual essence. [2] Mondrian would fully transition to Neoplasticism in 1917, and in 1919 said of his transition: I expressed myself by means of nature.
Neoplasticism (or neo-plasticism), originating from the Dutch Nieuwe Beelding, is an avant-garde art theory proposed by Piet Mondrian [a] in 1917 and initially employed by the De Stijl art movement. The most notable proponents of this theory were Mondrian and another Dutch artist, Theo van Doesburg . [ 1 ]
Piet Mondrian was evolving his abstract language, of horizontal and vertical lines with rectangles of color, between 1915 and 1919, Neo-Plasticism was the aesthetic which Mondrian, Theo van Doesburg and other in the group De Stijl intended to reshape the environment of the future.
Mondrian accepted some concepts of diagonals, such as in his "Lozenge" paintings, where the canvas was rotated 45 degrees, while still maintaining horizontal lines. In recent years, however, this theory has been challenged by art historians such as Carel Blotkamp , who cites the artist's different concepts about space and time.
Pieter Cornelis Mondriaan (Dutch: [ˈpitər kɔrˈneːlɪs ˈmɔndrijaːn]; 7 March 1872 – 1 February 1944), known after 1911 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.
Evolution is an early painting by the Dutch artist Piet Mondrian. It was executed in 1911, after the artist had visited Paris. The painting represents a mid-point in Mondrian's journey from realistic landscapes to radical abstraction. Symbolic in form and with stylised lines, it was Mondrian's last painting where he painted a human form.
Piet Mondrian, Composition No. 10, 1939–1942, oil on canvas. Throughout 20th-century art historical discourse, critics and artists working within the reductive or pure strains of abstraction have often suggested that geometric abstraction represents the height of a non-objective art practice, which necessarily stresses or calls attention to the root plasticity and two-dimensionality of ...