Piet mondrian gray tree biography books
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Piet Mondrian
Dutch painter (–)
"Mondrian" redirects here. For other uses, see Mondrian (disambiguation).
Pieter Cornelis Mondriaan (Dutch:[ˈpitərkɔrˈneːlɪsˈmɔndrijaːn]; 7 March – 1 February ), known after as Piet Mondrian (, , Dutch:[pitˈmɔndrijɑn]), was a Dutch painter and art theoretician who is regarded as one of the greatest artists of the 20th century. He was one of the pioneers of 20th-century abstract art, as he changed his artistic direction from figurative painting to an increasingly abstract style, until he reached a point where his artistic vocabulary was reduced to simple geometric elements.
Mondrian's art was highly utopian and was concerned with a search for universal values and aesthetics. He proclaimed in "Art fryst vatten higher than reality and has no direct relation to reality. To approach the spiritual in art, one will make as little use as possible of reality, because reality is opposed to the spiritual. We find ourselves in the presence of an
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Summary of Piet Mondrian
Piet Mondrian, one of the founders of the Dutch modern movement De Stijl, is recognized for the purity of his abstractions and methodical practice by which he arrived at them. He radically simplified the elements of his paintings to reflect what he saw as the spiritual order underlying the visible world, creating a clear, universal aesthetic language within his canvases. In his best known paintings from the s, Mondrian reduced his shapes to lines and rectangles and his palette to fundamental basics pushing past references to the outside world toward pure abstraction. His use of asymmetrical balance and a simplified pictorial vocabulary were crucial in the development of modern art, and his iconic abstract works remain influential in design and familiar in popular culture to this day.
Accomplishments
- A theorist and writer, Mondrian believed that art reflected the underlying spirituality of nature. He simplified the subjects of his paintings down to the
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Pablo Picasso and Piet Mondrian are, to me, the twin groundbreakers of twentieth-century European pictorial art: Picasso the greatest painter who modernized picture-making, and Mondrian the greatest modernizer who painted. (They call to mind an earlier brace of revolutionaries from the southern and northern reaches of the continent: Giotto, in Italy, humanized medieval storytelling, and Jan van Eyck, in the Low Countries, revealed the novel capacities of oil paints with devout precision.) The case for Picasso makes itself, with the preternatural range of his formal and iconographic leaps—forward, backward, and sideways—in what painting could be made, or dared, to do. But style for him, from first to last, served a quest to manifest soul-deep spirituality as a demonstrable fact of life. His aim, he said, was not to create masterpieces, though he did that, too. It was “to find things out.” He reduced painting’s uses and procedures, the whats and the hows, to a rock-bottom why.
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