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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]
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.
[8] [3] The painting was owned by the estate of Piet Mondrian in New York City until it was transferred to the city's Sidney Janis Gallery in 1958. [3] It was then briefly in the hands of Galerie Beyeler in Basel , Switzerland, in 1980 before being acquired by Kunstsammlung Nordrhein-Westfalen later that same year.
In 1917, Mondrian was one of the founding members of the Dutch art group De Stijl ("The Style"), an abstract movement which sought unification of material and spiritual worlds through pure geometry. Composition with Grid No. 1 , painted in 1918, was an early painting to adopt this style.
[129] Among the Theosophical sources, Besant and Leadbeater's book Thought-Forms [22] had great influence for him. [130] He interested in the Theosophical theory of colour as well as scientific one. [131] Like Mondrian, Kupka accepted an idea on the fourth dimension "as a supplement" to his Theosophical faith. [132] [note 27]
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.
Although books by Franz Kafka could no longer be bought by 1939, works by ideologically suspect authors such as Hermann Hesse and Hans Fallada were widely read. [33] Mass culture was less stringently regulated than high culture, possibly because the authorities feared the consequences of too heavy-handed interference in popular entertainment ...
By 1920 Rosenberg was the sponsor, dealer and publisher of Piet Mondrian, Léger, Lipchitz and Csaky. He had just published Le Néo-Plasticisme—a collection of writings by Mondrian—and Theo van Doesburg's Classique-Baroque-Moderne. Csaky's showed a series of works at Rosenberg's gallery in December 1920. [42]
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