Piet Mondrian Quotes

Gradually I became aware [c. 1914-1918] that Cubism did not accept the logical consequences of its own discoveries; it was not developing abstraction towards its ultimate goal: the expression of pure reality.

Art will not only continue but will realise itself more and more. By the unification of architecture, sculpture and painting a new plastic reality will be created.

Vertical and horizontal lines are the expression of two opposing forces; they exist everywhere and dominate everything; their reciprocal action constitutes 'life'. I recognized that the equilibrium of any particular aspect of nature rests on the equivalence of its opposites.

The important task of all art is to destroy the static equilibrium by establishing a dynamic one. Non-figurative art demands an attempt of what is a consequence of this task, the destruction of particular form and the construction of a rhythm of mutual relations, of mutual forms, or free lines.. ..the law of the denaturalization of matter is of fundamental importance. In painting, the primary color that is as pure as possible realizes this abstraction of natural color.

Thus we must carefully distinguish between two kinds of reality, one which has an individual character, and one which has a universal appearance.. .It is, however, wrong to think that the non-figurative artist finds impressions and emotions received from the outside useless, and regards it even as necessary to fight against them.. .It is equally wrong to think that the non-figurative artist creates through 'the pure intention of his mechanical process', that he makes 'calculated abstractions' and that he wish to 'suppress sentiment not only in himself but in the spectator'.. .It is thus clear that he has not become a mechanic, but that the progress of science, of technique, of machinery, of life as a whole, has only made him into a living machine, capable of realizing in a pure manner the essence of art.

[the double line in his paintings] is still one line, as in the case of your grooves [= the wide sunken lines in the relief's, the artist Gorin made then].. .In my last things the double line widens to form a plane, and yet it remains a line. Be that as it may, I believe that this question is one of those which lie beyond the realm of theory, and which are of such subtlety that they are rooted in the mystery of 'art'. But all that is not yet clear in my mind.

I believe that at times such as these my modest efforts may be useful to mankind. I have shown how the new art has succeeded in bringing about pure relationships, and furthermore how these can be created in day-to-day life. [Mondrian tried to convince the Dutch publisher Stols to publish his new manuscript 'L'art et la vie']

..the Place de l'Opera [in Paris] gives a better image of the new life than many theories. Its rhythms of opposition, twice repeated in its two directions, realizes a living equilibrium through the exactness of its execution.

The rectangular plane of varying dimensions and colours visibly demonstrates that internationalism does not mean chaos ruled by monotony but an ordered and clearly divided unity. In Neo-Plasticism, there are, in fact, very definite boundaries. But these boundaries are not really closed; the straight lines in rectangular opposition to one another constantly intersect, so that their rhythm continues throughout the whole work.. .These frontiers will be clearly defined but not 'closed'; there will be no customs, no work permits. 'Foreigners' will not be viewed as aliens.

I very much like Arp's things. I consider him the only 'pure' artist after Neo/Plasticism.

To show that this end [of art by its dissolution into real life] is only a beginning, it is essential that.. ..the series of galleries [of the future museum of modern art] be followed by a room in which painting and sculpture will be realized by the interior itself.. ..demonstrating that what is lost for art is gained for life. This room could therefore be designed for use as a lecture room, a restaurant.. ..as a bar with an American jazz band. [Mondrian's reaction on a questionnaire (c. 1931?)]

the Cubists in Paris made me see that there was also a possibility of suppressing the natural aspect of form. I continued my research by abstracting the form and purifying the colour more and more. While working, I arrived at suppressing the closed effect of abstract form, expressing myself exclusively by means of the straight line in rectangular opposition; thus by rectangular planes of colour with white, grey and black. At that time, I encountered artists with approximately the same spirit, First Van der Leck, who, though still figurative, painted in compact planes of pure colour. My more or less cubist technique - in consequence still more or less picturesque - underwent the influence of his exact technique. Shortly afterwards I had the pleasure of making the acquaintance of Van Doesburg. Full of vitality and zeal for the already international movement that was called 'abstract', and most sincerely appreciative of my work, he came to ask me to collaborate in a review he intended to publish, and which he [Theo van Doesburg] was to call 'De Stijl'. I was happy with an opportunity to publish my ideas on art, which I was engaged in writing down: I saw the possibility of contacts with similar efforts.

Though I do, of course agree with the principles you have mentioned, I am returning the paper unsigned, as I do not want to belong to a group. A group of people with one aim is not as yet a single-minded group and as this does not exist, a consistent group remains impossible. And a larger group only makes sense for joint exhibitions and for spreading ideas. I will therefore not participate in the other group either, but I have promised my collaboration in this respect. If you definitely want to form a group, you can always invite myself and others who are proved to be suitable. Only on such a basis I will collaborate with the other group as well.

Well, I think my paintings are fast enough already...

After your high-handed improvement(?) of 'Neo-plasticism' any co-operation is quite impossible for me.. .For the rest sans rancune - Piet Mondriaan.