Piet Mondrian Virtosu Art Gallery

Piet Mondrian Abstract artist Bio

Piet Mondrian was born Pieter Cornelis Mondriaan, Jr., on March 7, 1872, at Amersfoort, the Netherlands. Until 1908, when he started to take yearly trips to Domburg at Zeeland, Mondrian's work was pragmatic --integrating sequential on impacts of instructional landscape and still-life painting, Dutch Impressionism, and Symbolism. In 1909 a significant exhibition of his job (with this of Jan Sluijters and Cornelis Spoor) was held in the Stedelijk Museum, Amsterdam, and that same year he joined the Theosophic Society. In 1909 and 1910 he experimented with Pointillism and by 1911 had started to function in a Cubist manner. After viewing first Cubist works by Georges Braque and Pablo Picasso in the first Moderne Kunstkring exhibition in 1911 at Amsterdam, Mondrian chose to proceed to Paris. There, from 1912 to 1914, he started to develop a different abstract fashion.

Piet Mondrian Art

Mondrian saw the Netherlands when World War I broke out and averted his return to Paris. Throughout the war years in Hollande reduced his colours and geometric shapes and devised his nonobjective Neoplastic design. Back in 1917, Mondrian became one of the founders of De Stijl. The group, formed by Theo van Doesburg, Bart van der Leck, and Georges Vantongerloo, continued on its principles and rules of abstraction and simplification outside painting and sculpture to industrial and graphic design. Mondrian's essays on abstract art were printed in the periodical De Stijl. Back in July 1919, he returned to Paris; there that he exhibited De Stijl in 1923, but withdrew from the team after van Doesburg reintroduced diagonal elements into his job around 1925. Back in 1930, Mondrian revealed with Cercle et Carré (Circle and Square) and in 1931 united Abstraction-Création.

"Everything is expressed through relationship. Colour can exist only through other colours, dimension through other dimensions, position through other positions that oppose them. That is why I regard relationship as the principal thing." - Piet Mondrian

Piet Mondrian paintings

Piet Mondrian painting’s work from 1910 through 1914 shows how his representative works became more and more geometric until they were totally abstract. Some of his paintings during this time — such as Still Life With Gingerpot I and Still Life With Gingerpot II — show a trend towards the Cubist style for which artists such as Georges Braque and Pablo Picasso are most well-known.

After that one painting, this practise remained dormant in Mondrian's work until he arrived in Manhattan, at that time he started to adopt it with abandon. In some examples of the new direction, such as Composition (1938) / Place de la Concorde (1943), he seems to have taken unfinished black-line paintings out of Paris and finished them in New York by incorporating short vertical lines of different colours, running between the longer black lines, or by a black line to the edge of the canvas. The recently coloured areas are thick, almost bridging the gap between forms and lines, and it's startling to see colour in a Mondrian painting that's unbounded by black. Other functions combine long lines of red amidst the black lines, developing a new sense of depth by the addition of a coloured layer on top of the black one. His painting Composition No. 10, 1939--1942, characterized by primary colours, white black and ground grid lines clearly defined Mondrian's radical but classical approach to the rectangle.

In the US and exactly New York, he joined American Abstract Artists and continued to publish texts on Neoplasticism. His late style evolved considerably in response to the city. In 1942 his first solo show took place in the Valentine Dudensing Gallery, New York. Mondrian died February 1, 1944, in New York.

"Art is the path to being spiritual." - Piet Mondrian

Piet Mondrian Artist statement

"The meaning of words has become so blurred by past usage that 'abstract' is identified with 'vague' and 'unreal,' and 'inwardness' with a sort of traditional beatitude... The conception of the word 'plastic' has also been limited by individual interpretations.

Things are beautiful or ugly only in time and space. The new man's vision being liberated from these two factors, all is unified in one unique beauty.

If the universal is the essential, then it is the basis of all life and art. Recognizing and uniting with the universal therefore gives us the greatest aesthetic satisfaction, the greatest emotion of beauty."
Composition II in Red, Blue, and Yellow, 1930 Piet Mondrian Virtosu Art Gallery
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