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molen mill the winkel mill in sunlight,1908
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molen_mill_the_winkel_mill_in_sunlight,1908
mk247
1908,oil on canvas,44.875x34.25 in,114x87 cm,haags gemeentemuseum,the hague,netherlands
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portrait of a young woman in red,1908 to 09
new20/Piet Mondrian-747758.jpg
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portrait_of_a_young_woman_in_red,1908_to_09
mk247
1908 to ,oil on canvas,19.25x16.375 in,49x41.5 cm,haags gemeentemuseum,the hague,netherlands
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compostition with yellow,blue and red,1937 to 42
new20/Piet Mondrian-474847.jpg
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compostition_with_yellow,blue_and_red,1937_to_42
mk247
1937 to 42,oil on canvas,28.625x27.25 in,72.5x69 cm,tate collection,london,uk
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interior
new20/Piet Mondrian-363243.jpg
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interior
mk248 en arkitektonniisk modell i de stil,med markerade likbeter med mondrians deign princper.
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komposition i rott, svart,biatt och gult,1928
new20/Piet Mondrian-848353.jpg
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komposition_i_rott,_svart,biatt_och_gult,1928
mk248 mondrian boll sig strikt till kompositionr vertikala ocb borisotella ocb brot med van doesburg sedan 1924 introducerat digonaler i sina verk. nar mondrian flyttade till new york borjade bans linjer. som gensvar pa den nya, snabbrorljon. att forma de mangfargade rutmonter boogie woogie.
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Piet_Mondrian
Dutch
1872-1944
Piet Mondrian Location
was a Dutch painter.
He was an important contributor to the De Stijl art movement and group, which was founded by Theo van Doesburg. He evolved a non-representational form which he termed Neo-Plasticism. This consisted of a grid of vertical and horizontal black lines and the use of the three primary colours.
When 47-year-old Piet Mondrian left his artistically conservative native Holland for unfettered Paris for the second and last time in 1919, he set about at once to make his studio a nurturing environment for paintings he had in mind that would increasingly express the principles of Neo-Plasticism about which he had been writing for two years. To hide the studio's structural flaws quickly and inexpensively, he tacked up large rectangular placards, each in a single color or neutral hue. Smaller colored paper squares and rectangles, composed together, accented the walls. Then came an intense period of painting. Then again he addressed the walls, repositioning the colored cutouts, adding to their number, altering the dynamics of color and space, producing new tensions and equilibrium. Before long, he had established a creative schedule in which a period of painting took turns with a period of experimentally regrouping the smaller papers on the walls, a process that directly fed the next period of painting. It was a pattern he followed for the rest of his life, through wartime moves from Paris to London??s Hampstead in 1938 and 1940, across the Atlantic to Manhattan.
At 71 in the fall of 1943, Mondrian moved into his second and final New York studio at 15 East 59th Street, and set about again to create the environment he had learned over the years was most congenial to his modest way of life and most stimulating to his art. He painted the high walls the same off-white he used on his easel and on the seats, tables and storage cases he designed and fashioned meticulously from discarded orange and apple-crates. He glossed the top of a white metal stool in the same brilliant primary red he applied to the cardboard sheath he made for the radio-phonograph that spilled forth his beloved jazz from well-traveled records, Visitors to this last studio seldom saw more than one or two new canvases, but found, often to their astonishment, that eight large compositions of colored bits of paper he had tacked and re-tacked to the walls in ever-changing relationships constituted together an environment that, paradoxically and simultaneously, was both kinetic and serene, stimulating and restful. It was the best space, Mondrian said, that he had ever inhabited. Tragically, he was there for only a few months: he died of pneumonia in February 1944.
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