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Art Composition with Piet Mondrian About Piet Mondrian Piet Mondrian was born in March 1872 in Amersfoort, Netherlands. He was a pioneer of abstract art. His style influenced many 20th century art movements such as Color Field painting, Abstract Expressionism and Minimalism. He started his art career painting in the impressionist style before developing a new style he called Neo-Plasticism. This style restricted his artwork to the three primary colors of red, blue and yellow and only horizontal and vertical lines. In 1911 he moved from the Netherlands to Paris and that is where his art career really took off. In 1940 he moved to the US where he had a studio until his death in 1944. He had his first solo art show in 1942. Mondrian's artwork inspired many later artists. His influence can be seen in everything from furniture to fashion. About Art Composition Composition is the arrangement of elements within a work of art. There are many techniques to achieve a sense of unity in an artwork. Artwork is usually thought to be pleasing to the eye if it's elements are arranged in a compositional way. Suppplies Construction paper Scissors Glue Instructions Cut strips of black paper as well as squares of red, blue and yellow construction paper of varying sizes. Use the tips on creating composition below to arrange your strips and squares onto a piece of white paper. Glue the pieces of paper to the white construction paper. Elements of Art Composition Rule of Use imaginary lines to divide the page in thirds. Place your Thirds focal point along those lines or at the intersection of lines. L-arrangement Cropped The composition is arranged The elements go off the edge into a horizontal or vertical L. of the page. Elements of Art Composition Cont. Focal Point Create an area of focus. Relational Off-centering Composition Avoid placing objects in the Fill the entire space. center of the page..

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The Origins and Meanings of Non-Objective Art by Adam Mccauley
The Origins and Meanings of Non-Objective Art The Origins and Meanings of Non-Objective Art Adam McCauley, Studio Art- Painting Pope Wright, MS, Department of Fine Arts ABSTRACT Through my research I wanted to find out the ideas and meanings that the originators of non- objective art had. In my research I also wanted to find out what were the artists’ meanings be it symbolic or geometric, ideas behind composition, and the reasons for such a dramatic break from the academic tradition in painting and the arts. Throughout the research I also looked into the resulting conflicts that this style of art had with critics, academia, and ultimately governments. Ultimately I wanted to understand if this style of art could be continued in the Post-Modern era and if it could continue its vitality in the arts today as it did in the past. Introduction Modern art has been characterized by upheavals, break-ups, rejection, acceptance, and innovations. During the 20th century the development and innovations of art could be compared to that of science. Science made huge leaps and bounds; so did art. The innovations in travel and flight, the finding of new cures for disease, and splitting the atom all affected the artists and their work. Innovative artists and their ideas spurred revolutionary art and followers. In Paris, Pablo Picasso had fragmented form with the Cubists. In Italy, there was Giacomo Balla and his Futurist movement. In Germany, Wassily Kandinsky was working with the group the Blue Rider (Der Blaue Reiter), and in Russia Kazimer Malevich was working in a style that he called Suprematism.
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Piet Mondrian, Early Neo-Plastic Compositions, and Six Principles of Neo-Plasticism
Rupkatha Journal on Interdisciplinary Studies in Humanities (ISSN 0975-2935) Indexed by Web of Science, Scopus, DOAJ, ERIHPLUS Vol. 11, No. 3, October-December, 2019. 1-18 Full Text: http://rupkatha.com/V11/n3/v11n312.pdf DOI: https://dx.doi.org/10.21659/rupkatha.v11n3.12 Piet Mondrian, early Neo-Plastic compositions, and six principles of Neo-Plasticism Ali Fallahzadeh1 & Ghulam-Sarwar Yousof2 1Visual Art Department, Cultural Center, 50603 Kuala Lumpur, University of Malaya, Malaysia. ORCID: 0000-0002-0414-8702. Email: [email protected] 2(Corresponding author) Visual Art Department, Cultural Center, 50603 Kuala Lumpur, University of Malaya, Malaysia. ORCID: 0000-0003-3567-6812 Email: [email protected] Abstract In spite of the prominent role of Piet Mondrian (1872-1944) as a pure abstract painter and writer of his theories who developed the abstract art into what he called Neo-Plasticism, little has been written about him compared to other painters such as Picasso and Matisse. Examining the past and recent literature published about Mondrian, some scholars examined the aesthetic evolution of Mondrian’s vision toward his Neo-Plastic art and theory within a historical context by depending on the influences he received from circle of thinkers, artists, and friends during his life. While other scholars analyzed the components of Neo- Plastic theory through formal tenets of De Stijl or a metaphysical lens through premises of western philosophies such as Theosophy, Hegel, and Platonism. Nevertheless, despite the emphasis of the majority of scholars on close relation between Mondrian’s paintings and writings, researchers showed little tendency to examine the development of core formal theories of Neo-Plasticism through a parallel analysis of his Neo-Plastic paintings and his theoretical writings.
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Piet Mondrian
Piet Mondrian “Always further” Vica Hicks "I wish to approach truth as closely as is possible, and therefore I abstract everything until I arrive at the fundamental quality of objects." -Piet Mondrian Avond (Evening): The Red Tree [1908] Oil on canvas 70 x 99 cm (27 1/2 x 39 in) Mill in Sunlight: The Winkel Mill [1908] Oil on canvas 114 x 87 cm (44 7/8 x 30 1/4 in) The Red Mill [1911] Oil on canvas 150 x 86 cm The Gray Tree [1912] Oil on canvas 78.5 × 107.5 cm. Still Life with Gingerpot 2 [1912] Oil on canvas 37 1/2 x 47 1/4 inches (91.5 x 120 cm) Amaryllis [1910] Watercolour 49.2 x 31.5 cm Composition in Color A [1917] Oil on canvas. 50 x 44 cm Composition: Light Color Planes with Grey Contours [1919] Oil on canvas 49 x 49 cm Composition A [1923] Oil on canvas. Composition with Red, Yellow and Blue [1937] Oil on canvas. 23 3/4 x 21 7/8" (60.3 x 55.4 cm) Broadway Boogie Woogie [1942] Oil on canvas. 50 x 50" (127 x 127 cm) “To approach the spiritual in art, one will make as little use as possible of reality, because reality is opposed to the spiritual.” - Piet Mondrian Bibliography Slide number - Citation 1. "15 Things You Should Know About Piet Mondrian." Mental Floss. N.p., n.d. Web. http://mentalfloss.com/article/66842/15-things-you-should-know-about-piet-mondrian 2. "Piet Mondrian. Pier and Ocean 5 (Sea and Starry Sky).
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PIET MONDRIAN. PROTO-FASHION THEORIST// ------SUBMISSION DATE: 08/01/2015 // ACCEPTANCE DATE 13/05/2015 // PUBLICATION DATE: 15/06/2015 (Pp
CORE Metadata, citation and similar papers at core.ac.uk Provided by Revistes Catalanes amb Accés Obert LAUREN PALMOR // PIET MONDRIAN. PROTO-FASHION THEORIST //PIET MONDRIAN. PROTO-FASHION THEORIST// ---------------------------------------------- SUBMISSION DATE: 08/01/2015 // ACCEPTANCE DATE 13/05/2015 // PUBLICATION DATE: 15/06/2015 (pp. 39-50) LAUREN PALMOR UNIVERSITY OF WASHINGTON [email protected] /// KEYWORDS: Fashion theory, Piet Mondrian, J.C. Flügel, Thorstein Veblen, Georg Simmel, Sonia Delaunay. ABSTRACT: This paper attempts to contextualize Mondrian‘s few writings on fashion within his larger interest in oppositions and the work of early fashion theorists, who similarly framed dress in terms of binaries and antonyms. Like Mondrian, early fashion theorists were invested in ideas of opposition and universality, similarities that suggest that Mondrian may find conceptual allies in the first generation of fashion theorists, particularly J. C. Flügel, Thorstein Veblen, and Georg Simmel. Mondrian‘s largely overlooked approach to fashion theory sheds light on the understanding of his complex aesthetic philosophy, and, while much has been written about Mondrian‘s influence on fashion, there remains a need to navigate Mondrian‘s own inspiration by fashion. /// Piet Mondrian‘s legacy has escaped the historical limits of his own discipline—his influence has been felt in nearly every sphere of the visual arts, seemingly by osmosis. He has had a demonstrable visual impact on graphic design, home decor, and fashion, and his presence can be experienced by any hapless shopper who finds himself in a department store surrounded by handbags decorated with divided planes of red, yellow, and blue. Mondrian‘s uncompromisingly abstract, neoplastic style has long oscillated between high art and popular culture (Troy 2006: 15-36), and when one is determined to find an elegant intersection between Mondrian and design, the most frequently cited example is that of his influence on fashion.
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Piet Mondrian's Modern Masterpiece
PRESS RELEASE | NEW YORK FOR IMMEDIATE RELEASE : 9 A P R I L 2 0 2 1 PIET MONDRIAN’S MODERN MASTERPIECE COMPOSITION: NO II, WITH YELLOW, RED AND BLUE, 1927 IN CHRISTIE’S NY 20TH CENTURY EVENING SALE THIS MAY ON VIEW AT CHRISTIE’S HONG KONG APRIL 12-14 ON VIEW AT CHRISTIE’S LONDON APRIL 20-22 Property from an Important Private Collection PIET MONDRIAN (1872-1944) Composition: No. II, with Yellow, Red and Blue signed and dated 'PM 27' (lower right); signed and inscribed 'P. MONDRIAN HAUT No II Bovenzijde' (on the stretcher) oil on canvas 19 3/4 x 14 in. (50.5 x 35.2 cm.) Painted in 1927 Estimate on request NEW YORK - Christie’s is pleased to announce the inclusion of Piet Mondrian’s Composition: No. II, with Yellow, Red and Blue, 1927 in it’s upcoming, newly-introduced 20th Century Evening Sale at Christie’s New York on May 11, 2021 (estimate on request; in the region of US$25M). The painting is a rare and exceptional example of the artist’s revolutionary abstract aesthetic, made during a pivotal time in his career. Composition: No. II, with Yellow, Red and Blue will be unveiled for viewing at Christie’s Hong Kong from April 12-14 and at Christie’s London April 20-22 before returning to New York for the full exhibition of May sales property at Rockefeller Center in May. In Hong Kong, this modern masterpiece will be exhibited alongside Claude Monet’s Waterloo Bridge, effet de brouillard, 1899-1903, (estimate in the region of US$35 million) and Pablo Picasso’s iconic portrait Femme assise près d'une fenêtre (Marie-Thérèse), 30 October 1932 (estimate in the region of US$55 million).
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Art in the Fourth Dimension: Giving Form to Form – the Abstract Paintings of Piet Mondrian
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Lecture 6 New Movements in Twentieth-Century Architecture And
Lecture 6 New Movements in Twentieth-Century Architecture and Design: Cubism, Futurism, and Expressionism Kasimir Malevich, The Knife Grinder, 1912 The Overlapping of Cubism and Futurism and their Relevance to Architecture the fragmentation of forms (derived from Cubism) the focus on movement (from Futurism) the bold colors and lines (from Neo-primitivism) a general departure from objectivity, with an emphasis on individual creativity. Marcel Duchamp's Nude Descending a Staircase 1 Josef Chochol, Prague apartment house, 1913-14 “We declare that the splendor of the world has been enriched by a new beauty-the beauty of, speed. A racing car with its hood draped with exhaust pipes like fire- breathing serpents – a roaring racing car, rattling along like a machine gun, is more beautiful than the winged victory of Samothrace.” Filippo Tommaso Marinetti 1876-1944 (seen below in a “Futurist Portrait” 1930) Umberto Boccioni, Unique Form of Continuity in Space, 1913 We go all the way back to the first universal sensation that our spirit can already perceive thanks to the extremely intense synthesis of all the senses in a universal whole which will make us return through and beyond our millennial complexity, to primordial simplicity." "It is achieved through the intuitive search for the one single form which produces continuity in space." Umberto Boccioni’s visual transcriptions of energy help artists think about the representation of movement in a variety of forms and materials 2 Antonio Sant’Elia, Project for a station for airplanes and tranes with funicular lifts connecting to three levels of streets,” Italy, 1914 (Stazione d'aeroplani e treni ferroviari con funicolari e ascensori su tre piani stradali) Antonio Sant’Elia La Citta Nuova (The New City), 1914 Sant’Elia, Project for an Electrical Power Station, 1914 3 Nicola Djulgheroff Lighthouse to mark the victory of the machine, 1927 Piero Portaluppi, Studies for dwellings and offices in "Hellytown" (1926) Giacomo Matté-Trucco, FIAT Lingotto car factory (1916-1926) 4 .
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Abstract Art Answer Key.Pages
All About Abstract Artists S T U D E N T W O R K S H E E T Friedensreich Hundertwasser was born in Vienna, Austria in 1928. World War II broke out when he was only eleven years old. It was a terrible time for Austria; the city was bombed and destroyed. But young Hundertwasser saw new life emerge from puddles and the earth. The little insects and new plants were a sign of life for him and witnessing this drove his desire to live in harmony with nature. Hundertwasser didn’t like straight lines. He said, “In nature there are no straight lines drawn with a ruler.” Hundertwasser saw spirals as a symbol of life and nature and would use spirals as a dominant feature in many of his art works. 1. Why is this artwork by Hundertwasser considered ABSTRACT? Answers should be along these lines: His art is abstract because he painted objects more like lines and simple shapes and bright colors instead of what they REALLY looked like in nature. D E E P S P A C E S P A R K L E & T H E M E M B E R S C L U B Abstract artist, Piet Mondrian was born in the Netherlands in 1872. Mondrian’s art was not based on outside influences and evolved over his career. His first paintings were of landscapes and windmills and were full of color. He painted what he saw. Then he discovered cubism which helped develop his own unique style that he called neo-plasticism.
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De Stijl Presentation Cdul
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Mark Rothko and Piet Mondrian Two Pioneers of Abstract Art Meet at the Gemeentemuseum the Hague 20 September 2014 – 1 March 2015
Mark Rothko and Piet Mondrian Two pioneers of abstract art meet at the Gemeentemuseum The Hague 20 September 2014 – 1 March 2015 Mark Rothko called Piet Mondrian the most sensual artist he knew, speaking with his use of colour in mind. Home to the world’s greatest collection of the work of Mondrian, the Gemeentemuseum The Hague is the ideal place to organise an extensive new exhibition of the work of Mark Rothko. Opening on 20 September the exhibition will highlight both the similarities and the differences in the artistic development of the two pioneers of abstract art. It will demonstrate the differences between European and American abstract art, and invite comparison of format and composition. Mark Rothko’s colour fields are of unparalleled intensity and communicate universal human emotions such as fear, ecstasy, grief and euphoria. Gemeentemuseum The Hague presents a unique new exhibition of more than 40 works by Rothko, forty years after the last such show in the Netherlands. This exhibition will not travel and be held only in The Hague. Rothko owed his fame to the ‘classic style’ painting’ he adopted in the 1950s. Interaction with the viewer was of great importance to him. He felt that, for both the artist and the public, an overwhelming emotional experience was the most sublime form of inspiration, bordering on the spiritual. ‘The people who weep before my pictures are having the same religious experience I had when I painted them.’ Before him, Piet Mondrian had already described his own work as a spiritual exercise. But Rothko was the first to give pride of place to emotion, at a time when abstract art was still fairly impersonal.
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Cubism and Abstract Art: Piet Mondrian” by Daniel Robbins, 1962
Guggenheim Museum Archives Reel-to-Reel collection “Cubism and Abstract Art: Piet Mondrian” by Daniel Robbins, 1962 DANIEL ROBBINS Good afternoon, ladies and gentlemen. Welcome to this, the fifth and last [01:00] in my series called cubism and Abstract Art. This lecture is about Piet Mondrian. I wish that it could be about the whole series. If I saw in front of me consistently the faces that I saw two weeks before and two weeks before and two weeks before, I’d feel better that I could summarize what I’ve been trying to talk about. Mondrian is, however, kind of in the nature of a summary, because Mondrian is known to you all probably as the nonobjective artist. I think we’ve all heard it said about certain authors that they write the same book [02:00] over and over, because they have the same thing to say about the world. Perhaps this is true of Mondrian also. At any rate, it’s something to keep in mind this afternoon during the course of this lecture. It may turn out that when he decided what reality was he painted it over and over, and yet I think we’ll see that these paintings, like the one you see in front of you now -- a kind of characteristic Mondrian of the ’30s in a very bad slide -- have a different quality, an extraordinary liveliness, and a kind of expressiveness which many people who are willing to grant that Mondrian made a [03:00] distinct contribution to the modern style, a contribution that we can see all over, especially on Park Avenue today, that many people are not willing to grant to him.
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Art Masterpiece: “Composition #2” Piet Mondrian
Art Masterpiece: “Composition #2” Piet Mondrian Keywords: Informal balance, Texture, Composition, Non-Objective Art Grade: 5th Activity: Geometric Line Painting Meet the Artist: Piet Mondrian was born in the Netherlands in 1877. He was influenced by many artistic styles and even helped found an artistic movement called De Stijl. Artists following this movement wanted to simplify the subjects of their painting as much as possible until they were left with only lines and simple colors. They used only red, yellow, blue, black, white, and grey. The paintings that Piet Mondrian is most famous for are rectangles of white and primary colors, dissected by black lines. He did not always paint this way, however. Mondrian’s first paintings depicted scenes found in real life. They were done in a style similar to impressionism. As his style grew and changed, he stopped using other colors besides the three primaries: red, yellow, and blue. Mondrian soon became interested in cubism. Cubism is an artistic style in which the subject is broken into meaningful pieces and rearranged in a different order. Because of the influence of cubism, Mondrian’s paintings became more and more abstract. Mondrian moved to Paris in 1912 so he could further study cubism. Mondrian was really interested in how the idea of harmony and balance might be expressed through painting, and how people’s lives might also be harmonious and balanced. He became interested in the contrast of dark and light and he applied these ideas to his own paintings. It can be said that he invented nonobjective art. He has influenced many artists, architects, and philosophers.
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