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And then about whether or not to work from a given in nature. In my view, you [ Van Doesburg ] define this in a rather narrow sense. In the main, I d… - Piet Mondrian
" "And then about whether or not to work from a given in nature. In my view, you [ Van Doesburg ] define this in a rather narrow sense. In the main, I do agree with you that the destruction of the natural, and it reconstruction, must be accomplished according to a spiritual image, but I believe that we should take a broad view here. What is natural does not have to be a representation of something. I'm now working on a thing that is a reconstruction of a starry sky ['Composition, Checkerboard Dark Colours', 1919] and yet I'm making it without a given from nature. Someone who says he uses a theme from nature can be right, but also someone who says he uses nothing at all.
English
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About Piet Mondrian
Pieter Cornelis "Piet" Mondriaan (after 1912: Piet Mondrian). (March 7, 1872 – February 1, 1944) was a Dutch painter starting in Dutch impressionism but soon started to develop abstraction from his landscape paintings. He became an inspiring leader of the De Stijl art movement and group, together with Theo van Doesburg. Mondrian proclaimed 'Neo Plasticism' as a completely new, Abstract art style.
Also Known As
Native Name:
Pieter Cornelis (Piet) Mondriaan
Alternative Names:
Mondrian
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Mondriaan
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Piet Cornelis Mondrian
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Piet Cornelies Mondrian
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Piet Mondriaan
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Pieter Cornelis Mondrian
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Pieter Cornelis Mondriaan
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Additional quotes by Piet Mondrian
You should remember that my things are still intended to be paintings, that is to say, they are plastic representations, in and by themselves, not part of a building. Furthermore, they have been made in a small room. Also, that I use subdued colours for the time being, adapting myself to the present surroundings and to the outer world; this does not mean that I should not prefer a pure colouring. Otherwise you might think that I contradict myself in my work.
1910's
With that work [Mondrian is referring to his figurative painting 'Devotion' he painted in 1908, of a devotedly looking girl] I only envisaged a girl conceived devotedly.. ..and by giving the hair that sort of red, to tone down the material side of things, to suppress any thoughts about 'hair', 'costume', etc, and to stress the spiritual. I believe that color and line can do much towards this end; moreover, I should not wish to do without line.. .It is precisely the overall line of a thing which I find fundamentally important, and also, the colour.
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Ru-h-ru-h-ru-h-h-h-h. Pooh-ooh-ooh. Tick-tick-tick-tick. Pre. R-r-r-r-r-uh-h. Huh! Bang. Su-su-su-ur. Booh-a-ah. R-r-r-r. Pooh…multitude of sounds, all mixed together. Motorcars, buses, carts, carriages, people, lamp-posts, trees.. all mixed together; in front of cafés, shops, offices, posters, shop windows: multitude of things. Motion and standstills: different movement. Movement in space and movement in time. Multitude of images and all sorts of ideas. Images are veiled truths. All different truths form what is true. What is individual does not display all in a single image.. ..Ru-ru-ru-u-u. Pre. Images are boundaries. Multitude of images and all sorts of boundaries. Elimination of images and boundaries through all sorts of images. Boundary clouds what is true. Rebus: where is what is true? Boundaries are just as relative as images, as time and space. [Mondrian's poem has strong connections with 'dynamism' of Futurism]
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