By Italo Tomassoni
Piet Mondrian performed a big function within the improvement of summary artwork throughout the first 1/2 the 20 th century. because the relocating spirit of De Stijl, the main austere of all abstractionist routine, Mondrian built and conducted his concept of artwork virtually in isolation he owed little to the other artist or university of portray. The natural geometrical works of his mature kind, frequently composed completely of squares of brilliant reds and yellows rigorously balanced with components of white and intersected by way of vertical or horizontal traces, are the direct expression of his trust in an paintings free of subjectivity—an paintings that used to be the expression of a common unchangeable fact.
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Additional info for Mondrian
1914, ink 24I x 19^ in (63 x 50 cm) Slijper collection, Blaricum 21 Oval Composition , Tableau III on canvas 1914, oil 45 x 394 in (140 x 101 cm) Museum, Amsterdam Stedelijk with an asymmetrical universe and a two-dimensional space as environment of contemporary man. This space was distributed, divided and strictly planned to an order which was no longer naturalistic, resolving in this way all conflict between art and life in a higher equilibrium. 'Balance through the equivalence of nature and mind, of that which is individual and that which is universal, of the feminine and the masculine - this general principle of Neoplasticism can be achieved not only in plastic art, but also in man and in society.
176), so that the value of colours and forms in a painting by Mondrian is a 'here and now' value, that is, completely phenomenal, although the way in which the colours and forms determine, in an absolute sense, the value of the consciousness is constant. In a later study (Mondrian : quantità e qualità, 1956, in Salvezza e caduta nell' arte moderna, Milan, 1964) this thesis is partially modified: painting is that which in modern architecture is the plan as opposed to the perspectives: 'the schema or generating principle of visual experience'.
The influence of these can be seen in the Brabant landscapes (1903), in the paintings of the woods at Oele (1907), and of the beaches and sand-dunes at Domburg (1908). This Zealand period coincided with his friendship with Jan Toorop. From these works there emerges a recurring taste for the episodic in nature, although the figurative structure does not push the image in the direction of narrative, or of enquiry into the inner consciousness. The values may be episodic, but they are far from being accidental.