Neo-Plasticism has its roots in Cubism. It could just as easy be called the Painting of Real Abstraction. Since the abstract can be expressed by a pl… - Piet Mondrian

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Neo-Plasticism has its roots in Cubism. It could just as easy be called the Painting of Real Abstraction. Since the abstract can be expressed by a plastic reality.. .It achieves what all painting has tried to achieve but has been able to express only in a veiled manner. By their position and their dimension as well as by the importance of given to colour, the coloured planes express in a plastic way only relations and not forms. Neo-Plasticism imparts to these relations an aesthetic balance and thereby expresses universal harmony.. .For the moment what art had discovered must still be limited to art itself. Our environment cannot yet be realized as a creation of pure harmony. Art today is at the very point formerly occupied by religion. In its deepest meaning art was the transposition of the natural [into another plane]; in practice it always sought to achieve harmony between man and untransposed nature. Generally speaking, so do Theosophy and Anthroposophy, although these already possessed the original symbol of balance. And this is why they never were able to achieve equivalent relations, that is to say true harmony.

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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 Mondriaan Piet Cornelis Mondrian Piet Cornelies Mondrian Piet Mondriaan Pieter Cornelis Mondrian Pieter Cornelis Mondriaan

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Additional quotes by Piet Mondrian

It is clear to me that this [his recent works and ideas on art] is art for the future. Futurism, although it has advanced beyond naturalism, occupies itself too much with human sensations. Cubism – which in its content is still too much concerned with earlier aesthetic products, and thus less rooted in its own time than Futurism – Cubism has taken a giant step in the direction of abstraction, and is in this respect of its own time and of the future. Thus in its content it is not modern, but in its effect it is.

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The truly modern artist is aware of abstraction in an emotion of beauty; he is conscious of the fact that the emotion of beauty is cosmic, universal. This conscious recognition has for its corollary an abstract plasticism, for man adheres only to what is universal.

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