The principle of this art [as Mondrian proposes his view on modern art] is not a negation of matter, but a great love of matter, whereby it is seen i… - Piet Mondrian

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The principle of this art [as Mondrian proposes his view on modern art] is not a negation of matter, but a great love of matter, whereby it is seen in the highest, most intense manner possible, and depicted in the artistic creation.

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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 the same with art. Art will become the product of another duality in man: the product of a cultivated externality and of an inwardness deepened and more conscious. As a pure representation of the human mind, art will express itself in an aesthetically purified, that is to say, abstract form.

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.

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