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Transcript of Piet Mondrian
On March 7th, 1872 he was born as the second of five children in a heavily Calvinistic family in central Holland, he was encouraged to pursue art or music
His father, headmaster of a local primary school, was an amateur artist and gave Piet drawing lessons while his uncle, Fritz Mondrian, was an accomplished artist and taught him to paint
He studied at the Royal Academy of Visual Arts in Amsterdam, and learned drawing from model, copying the old masters, and genre painting Early Training ~ continued... presentation by Samantha Posta Piet Mondrian Meet The Artist continued... The influence of cubism makes a large impact on his career as an artist - it gave him the structure he needed to make his landscapes focus on the sparest elements of shapes and lines
Around 1905, his landscape portraits revealed a new sense of drama and light and Jan Toorop, a leading artist of Dutch luminism, introduced him to the French Post-Impressionists
From then on, his works changed dramatically - incorporating bold colors (Vincent Van Gogh) and pointillist techniques (Georges Seurat)
Even in his earliest works, he demonstrates a tendency to focus on one facet of the work at a time and work in a series - invaluable points of his mature, abstract style In 1912, he moved to Paris (thriving center of avant-garde) and became familiar with the works of Picasso, Braque, etc.
He shifted from Neo-Impressionistic to modern abstractions Gray Tree (1912) - Oil on canvas. Shows his experimentation with cubism, as it features a restricted color pallet, the fore and background elements seem to intermingle, and the tree seems almost oval in shape (a feature that would appear progressively in the works of the next three to four years) Composition in Brown and Gray (1913) Composition C (1920) Trafalgar Square (1939-43) Mature Period and Late Life ~ Works Cited He was visiting his sick father in Holland when WWI broke out (1914) and was unable to return to Paris until 1919
During this time curved lines and all references to nature gradually stopped and he moved closer to pure abstraction
In 1917, the journal De Stijil (The Style) was founded with the help of architect Theo van Doesburg
The journal was a movement among Dutch artists, architects, and designers that presented the idea of total abstraction as a model for harmony and order
The journal allowed artists to develop modernism separate from Paris "Composition C." MoMA.org. N.p., n.d. Web. 16 Apr. 2013.
"Composition in Brown and Gray." MoMA.org. N.p., n.d. Web. 16 Apr. 2013.
"Mondrian at a Glance." Piet Mondrian. N.p., n.d. Web. 16 Apr. 2013.
"Piet Mondrian Biography, Art, and Analysis of Works." The Art Story. The Art Story Foundation, n.d. Web. 15 Apr. 2013.
"Traflagar Square." MoMA.org. N.p., n.d. Web. 16 Apr. 2013. The resulting movement was termed Neo-Plasticism, or new plastic art
The term "plastic" simply referred to Mondrian's way of representing reality, on the surface of the painting itself
Dedicated to the "absolute devaluation of tradition" the artists of De Stijl emphasized "the need for abstraction and simplification" and limited the elements in their paintings to straight horizontal and vertical lines, right angles, the three primary colors (red, yellow, blue) and the three achromatic colors (grey, white, and black). continued... At the end of World War I, Piet moved back to Paris at the age of forty-seven
His paintings from the 1920s represent the clearest abstraction and are "the clearest expression of his ideal of purity and universal harmony in Neo-Plastic expression"
It was only around 1925 that Mondrian began to gain the recognition he deserved for his contribution to modernism
He moved to London for two years and then later in 1940 he moved to New York city
In London, he met Peggy Guggenheim who later showed his works at her gallery in New York
He eventually joined the American Abstract Artists
He died at the age of 71 in 1944 of pneumonia Composition with Blue, Red and Yellow (1930) Broadway Boogie Woogie (1942-3) inspired by his new surroundings in New York, his late paintings show a new energy and complexity of composition This composition incorporates double lines, and color lines, which are not seen in his pre WWI compositions, and finally the black grid was replaced with pulsating lines of color squares This work still reflects his abstraction and need for order and simplicity, but it conveys a new life in it's more vibrant colors and new techniques Victory Boogie Woogie (1942) New York City (1942) Still Life (1893) Upright Chrysanthemum (1901)