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De Evolutie Van Mondriaans Stijl

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De Evolutie Van Mondriaans Stijl De evolutie van Mondriaans stijl. Wat heeft ertoe geleid dat Mondriaans kunst steeds abstracter werd? Profielwerkstuk (2016-2017), Maura Polano 1 Inleiding Mondriaan (1872-1944) heeft z’n stempel gedrukt op de kunstgeschiedenis van de 20e eeuw. Hij heeft invloed gehad op de schilderkunst, bouwkunst, mode, architectuur, meubelontwerp en typografie. Je hoeft je maar een beetje te verdiepen in de kunst van de afgelopen eeuw en zijn naam komt bovendrijven. Beroemdheden als architect Gerrit Rietveld en modeontwerper Yves Saint Laurent ontlenen hun werk aan Mondriaans abstracte kunst. Het leek me dan ook in eerste instantie interessant om de invloed van Mondriaan op andere kunstenaars te onderzoeken. Een bezoek aan Gemeentemuseum Den Haag deed me van dit oorspronkelijke idee afwijken. Laat me dat nader verklaren. Bijna iedereen kent Mondriaans abstracte werken die bestaan uit louter rechte lijnen, rechte hoeken, de primaire kleuren en de drie niet-kleuren. Echter, in de zoektocht naar deze abstracte stijl heeft hij ook geëxperimenteerd in talloze andere stijlen. Zijn kunst heeft vele veranderingen ondergaan en dat vind ik uiterst intrigerend. Vandaar heb ik besloten om me te verdiepen in het proces dat Piet Mondriaan in zijn eigen schilderkunst heeft doorgemaakt. De invloed die hij op andere kunstenaars heeft gehad zal in dit rapport dan ook niet ter sprake komen. Wegens mijn belangstelling voor Mondriaans oeuvre, wijd ik graag dit werkstuk aan het beantwoorden van de vraag: wat heeft ertoe geleid dat Mondriaans kunst steeds abstracter werd? Ik zal dus bovenal opzoek gaan naar de oorzaken van de veranderingen in zijn kunst. Daarom zal ik kijken naar de invloeden op Mondriaans kunst. Wie en wat hebben Mondriaans kunstvisie beïnvloed? Om te weten te komen waarom Mondriaan evalueerde van realist tot abstract kunstenaar, is het in de eerste plaats noodzakelijk om een beeld te krijgen van de verschillende stijlen die hij heeft doorlopen. Aan de hand van zijn kunstwerken zal ik proberen om zijn ontwikkeling weer te geven. Ik veronderstel daarbij dat zijn transformatie tot abstract kunstenaar een duidelijke, lineaire ontwikkeling toont. Het spreekt voor zich dat deze ontwikkeling sterk verband houdt met zijn veranderende kunstvisie. Met het oog op het beantwoorden van de vraag welke invloeden op Mondriaan hebben gewerkt, ga ik dan ook opzoek naar de verklaring voor zijn veranderende kunstvisie. Tot slot wil ik me verdiepen in de Stijl en hoe deze kunststroming invloed heeft gehad op Mondriaans weg naar abstractie. Ik zal mijn hoofdvraag “wat heeft ertoe geleid dat Mondriaans kunst steeds abstracter werd?” dus trachten te beantwoorden aan de hand van de volgende deelvragen:: ● Welke stijlen heeft Mondriaan allemaal gehad? ● Wat is Mondriaans kunstvisie? ● Wie en wat hebben Mondriaans kunstvisie beïnvloed? - Welke invloed heeft de theosofie gehad op Mondriaans kunstvisie? - Welke schilders hebben Mondriaan beïnvloed? - Hoe hebben de boogiewoogie- en bluesmuziek invloed gehad op Mondriaans kunst? ● Welke gemeenschappelijke ideeën hadden de leden van De Stijl over de kunst? ● Welke ideeën van andere leden van de Stijl keurde Mondriaan af? 2 Inhoudsopgave Toelichting hypothese ......................................................................................................... 4 Uitleg indeling profielwerkstuk in twee delen en drie boekdelen ..................................... 5 H.1 Mondriaans vroege jaren (1890-1907); de invloed van Breitner ................................. 7 Persoonlijke analyse Breitner .......................................................................................... 9 H.2. Het symbolisme (1907-1911); de invloed van Van Gogh, Jan Toorop, Kees van Dongen, Goethe, Jan Sluijters, Leo Gestel en de Theosofie .......................................... 11 Persoonlijke analyse Van Gogh .................................................................................... 15 Persoonlijke analyse Toorop ......................................................................................... 16 Persoonlijke analyse Van Dongen ................................................................................. 16 Persoonlijke analyse Sluijters ........................................................................................ 17 Persoonlijke analyse Gestel .......................................................................................... 17 H.3. Het kubisme (1911-1914); de invloed van Cézanne, Picasso, Braque en de kubisten van Montparnasse/ de Section d’Or groep ....................................................... 18 Persoonlijke analyse Cézanne, Picasso en Braque ....................................................... 21 H.4 De ontwikkeling van de Nieuwe Beelding (1914-1920) .............................................. 22 Deel 1: de invloed van Van der Leck, Schoenmaekers en de Theosofie ................. 22 Deel 2: De Stijl; de invloed van Van Doesburg .......................................................... 29 Conclusie ............................................................................................................................ 32 Verantwoording creatief ontwerp ...................................................................................... 35 De kast .......................................................................................................................... 35 Het maakproces ........................................................................................................... 38 De bouwtekeningen....................................................................................................... 40 De schilderijen ............................................................................................................... 44 Begrippenlijst ..................................................................................................................... 51 Personenregister ................................................................................................................ 53 Geraadpleegde literatuur ................................................................................................... 58 Logboek .............................................................................................................................. 60 Bijlage ................................................................................................................................. 63 Mondriaans catalogus ...................................................................................................... 106 3 Toelichting hypothese Mijn onderzoeksvraag ‘Wat heeft ertoe geleid dat Mondriaans kunst steeds abstracter werd?’ impliceert dat er een duidelijke ontwikkeling naar abstractie te bespeuren is in Mondriaans schilderijen. Deze hypothese gaat dan ook aan mijn onderzoek vooraf. Hans Janssen, schrijver van het boek Mondriaan in het Gemeentemuseum Den Haag, ondermijnt dit “algemeen aanvaarde uitgangspunt dat het werk van Mondriaan vóór alles een strakke, lineaire ontwikkeling toont […] in één strakke lijn van een traditioneel naturalisme in de trant van de Haagse school naar volledige abstractie”1. Toch is het een feit dat Mondriaans kunst in de loop van zijn carrière grote en opvallende veranderingen heeft ondergaan en streef ik ernaar om zijn ontwikkelingen zoveel mogelijk in een lineaire lijn te plaatsen. Mondriaan heeft geëxperimenteerd met het fauvisme, symbolisme, expressionisme en kubisme om zich uiteindelijk in 1920 definitief neer te leggen bij het neoplasticisme. Mondriaans zoektocht naar deze stijl, zal ik in dit profielwerkstuk beschrijven en vormgeven aan de hand van schilderijen uit verschillende levensfases. In Mondriaans beginperiode zal het moeilijk zijn om een lineaire ontwikkeling te tonen. In deze fase zocht Mondriaan voornamelijk het experiment op. Dit resulteert erin dat hij in dezelfde levensfase verschillende stijlen uitprobeerde. Vanaf zijn kennismaking met het kubisme in 1912 verwacht ik echter een duidelijke lineaire ontwikkeling aan te treffen in zijn schilderijen. Deze verwachting baseer ik grotendeels op de woorden van Ian Hugh Wallace, die een scriptie schreef over Mondriaans evolutie. Hij stelt dat “from this point [his encounter with cubism] on, Mondrian’s work had a steadily evolving but thoroughly consistent and singular direction which reintegrated his work after the rather spotty character it displayed in the few years after 1907/8”2. Ik hoop deze stelling aan het eind van dit profielwerkstuk te kunnen bevestigen. 1 Janssen, Mondriaan in het Gemeentemuseum Den Haag, 2008 2 Wallace, 1968 4 Uitleg indeling profielwerkstuk in twee delen en drie boekdelen. Dit profielwerkstuk bestaat uit twee delen: een theoretisch kader en een creatief ontwerp. Het creatieve ontwerp is een praktisch werkstuk dat verband houdt met mijn onderzoeksvraag. Uitleg en foto’s van dit project zijn te vinden op pagina’s 35 t/m 46 van dit boekwerk. Het theoretische kader bestaat uit een literatuurstudie over Mondriaan en omvat drie boekdelen: de hoofdtekst, de bijlage en Mondriaans catalogus. Zowel de catalogus van Mondriaans werken als de bijlage functioneren als aanvulling op de hoofdtekst. De drie boekdelen zijn apart gedrukt. Indien u dit profielwerkstuk digitaal leest, zijn alle boekdelen in dit document samengebracht. In de hoofdtekst wordt Mondriaans carrière opgedeeld in vier fases en de hoofdstukindeling correspondeert met deze opdeling: 1. Mondriaans vroege jaren (1890-1907) 2. Het symbolisme (1907-1911) 3. Het kubisme (1911-1914)
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