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Books : Arts & Photography : Artists, A-Z : ( M-O ) : Mondrian, Piet
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"After several years, my work unconsciously began to deviate more and more from the natural aspects of reality. Experience was my only teacher; I knew little of the modern art movement. When I first saw the work of the Impressionists, van Gogh, van Dongen, and Fauves, I admired it. But I had to seek the true way alone. . . . I forsook natural color for pure color. I had come to feel that the colors of nature cannot be reproduced on canvas. Instinctively, I felt that painting had to find a new way to express the beauty of nature."—Piet MondrianPiet Mondrian is one of the most recognizable artists of the 20th century. His grid paintings, beginning in 1920 (when he was nearly 50) are perhaps the most iconic statement of the modernist aesthetic. But preceding these paintings stands a career of nearly 30 years during which Mondrian evolved from a painter of atmospheric landscapes and embarked on a distinctive path towards abstraction. This book focuses exclusively on the process of Mondrian finding his abstract style, analyzing in depth the disparate influences upon him—aesthetic, historical, intellectual, and spiritual—in the years up to 1914.
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With 57 full-color plates, this book reveals a side of the great Dutch-born abstract painter Piet Mondrian rarely seen. In delicate portraits of roses, lilies, amaryllis, chrysantheums, and sunflowers, Mondrian proves that he ranks with Georgia O'Keeffe as one of this century's most gifted painters of flowers. 75 illustrations, 57 in full color.
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Just before World War II, Piet Mondrian fled from Paris to London and later to New York, where he lived until his death in 1944. Upon his arrival in Manhattan, the artist began reworking seventeen of the paintings be brought with him, many of which had already been finished and exhibited. He changed lines and added blocks and bars of color to give them what he called "more boogie-woogie". In this groundbreaking book, Harry Cooper, an authority on Mondrian's art, and Ron Spronk, an expert on the technical examination of paintings, investigate the artist's so-called transatlantic paintings and his unusual working method during this period. Their collaboration offers an intimate look into the studio of one of the greatest modern artists and establishes a new model for the integration of art history, theory, and technical analysis. The book begins with two essays by Cooper that discuss the critical reception of Mondrian's work, the place of the transatlantic paintings in the evolution of his art, and the particular significance of their dates and titles. Spronk's essay presents technical discoveries based on the author's original research, reproducing and interpreting many new X-radiographs, photomicrographs, and photographs taken under ultraviolet and infrared light. The catalogue features such major paintings as Place de la Concorde (1938-43) from the Dallas Museum of Art and No. 12 (1936-42) from the National Gallery of Canada. Each work is discussed in a comprehensive entry accompanied by a dazzling array of illustrations that take the reader under the surface of the painting to reveal its genesis. This is the catalogue for an exhibition that opens at the Harvard University Art Museums in April 2001 and then travels to the Dallas Museum of Art.
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Artwork by Piet Mondrian. Text by Hans Locher.
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This digital document is an article from Instructor (1990), published by Scholastic, Inc. on April 1, 2002. The length of the article is 6691 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Piet Mondrian. (Masterpiece of the Month).(Brief Article)
Author: Christine Mills
Publication: Instructor (1990) (Magazine/Journal)
Date: April 1, 2002
Publisher: Scholastic, Inc.
Volume: 111 Issue: 7 Page: 43(2)
Article Type: Brief Article
Distributed by Thomson Gale
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This book on Mondrian, one of the great pioneers of abstract art, analyzes the interrelation between his paintings and his theories on art and life as expressed in public writings and (largely unpublished) letters. Mondrian's art was not based on reasoning or calculation – on the contrary, intuition was central to his concept of the artistic process – but he always felt a strong urge to position his art in a wider cultural and philosophical context. Crucial to Mondrian's thought was the Theosophical notion of evolution, which required the destruction of the old to make room for the new, in life, in society and in art.
Mondrian: The Art of Destruction concentrates on the paintings, the artist's major achievement, examining the influences that shaped his art: Fauvism and Cubism c.1910, the work of Bart van der Leck, De Stijl and the Parisian art world during the 1920s. Mondrian appears not as an isolated figure, but as an artist who took a keen interest in the world around him, a veritable avant-garde painter who saw his role as a creator of a new, modern culture.
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When the Dutch painter Piet Mondrian (1872–1944) made his first ventures into the realm of nonrepresentational art, he could hardly have imagined the impact his vision would have on twentieth-century art, architecture, and design. Internationally recognized as the leading pioneer of abstract art, the founder of Neo-Plasticism, and the ideological father of the De Stijl movement, Mondrian embodied the spirit of modernism. His unmistakable grids and angular compositions expressed his desire for order and clarity amid the chaos of industrial civilization. This comprehensive collection of his essays, letters, notes, and interviews is arranged chronologically from Mondrian's earliest De Stijl essays up to an interview conducted shortly before his death. The texts are complemented with a chronology, an intimate memoir by his close friend Harry Holtzman, an essay on Mondrian's early writings by Martin S. James, a selective bibliography, and 254 reproductions of Mondrian's paintings, works, by his contemporaries, and photographs of the artist, his family, and friends. The New Art –The New Life is the definitive source for understanding the underlying principles of Mondrian's art and life. Revealed in these writings is the self-denial, discipline, and patience of a man who modified the way we perceive the world.
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This digital document is an article from Arts & Activities, published by Thomson Gale on October 1, 2006. The length of the article is 939 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Animals with a Mondrian twist.(Piet Mondrian)
Author: Berniece Patterson
Publication: Arts & Activities (Magazine/Journal)
Date: October 1, 2006
Publisher: Thomson Gale
Volume: 140 Issue: 2 Page: 38(2)
Distributed by Thomson Gale
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This digital document is an article from Queen's Quarterly, published by Thomson Gale on June 22, 2007. The length of the article is 2643 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Idols of the eye.(color blindness)
Author: Leslie Millin
Publication: Queen's Quarterly (Magazine/Journal)
Date: June 22, 2007
Publisher: Thomson Gale
Volume: 114 Issue: 2 Page: 259(9)
Distributed by Thomson Gale
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