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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.
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 ]
Wikidata:WikiProject sum of all paintings/Creator/Piet Mondrian Metadata This file contains additional information, probably added from the digital camera or scanner used to create or digitize it.
While following the grid like structures of his other abstract paintings, it is unusual in omitting the use of any black lines. [1] Indeed, Mondrian's earlier writings on art had stated that any lines in his paintings had to be black; colour was reserved for the filled in rectangles. [2] The painting is equally unusual in that none of the lines ...
New York City [a] is a 1942 oil-on-canvas painting by Piet Mondrian, completed in 1942.It is on display in the Musée National d'Art Moderne at the Centre Pompidou in Paris, France.
Abstract art uses visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. [1] Abstract art, non-figurative art, non-objective art, and non-representational art are all closely related terms. They have similar, but perhaps not identical, meanings.
Broadway Boogie Woogie is a painting by Piet Mondrian completed in 1943, after he had moved to New York in 1940. Compared to his earlier work, the canvas is divided into many more squares. Compared to his earlier work, the canvas is divided into many more squares.
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.