DOCSLIB.ORG

Jan Toorop (Java 1858-1928 the Hague)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jan Toorop (Java 1858-1928 the Hague) Jan Toorop (Java 1858-1928 The Hague) Portrait of Dr. Claes Noorduijn, 1911 Pencil, charcoal and white heightening on buff paper 21 1/4 by 16 3/4 inches (53.9 by 42.6 cm.) Signed, dated & inscribed: 'aan mejufrouw Noorduijn/portret van haren vader Dr. C. Noorduijn door J.Th.Toorop./Nijmegen 1911' Provenance Mrs. J.R. Noorduijn, Nijmegen, by descent Private collection, The Netherlands Exhibited Nijmegen, Gebouw der R.K. Militairen Vereeniging, Tentoonstelling van werken van Jan Toorop gehouden te Nijmegen ter gelegenheid van de opening der R.K. Universiteit, 15 October – 3 November 1923, no. 18 Leiden, Stedelijk Museum De Lakenhal, Tentoonstelling van werken van Jan Toorop, 17 November – 9 December 1923, no. 20 Amsterdam, Gebouw voor Beeldende Kunst, Toorop, 1924, no. 39 The Hague, Pulchi Studio, Eere-Tentoonstelling Jan Toorop, 4 - 26 April 1928, no. 102 Nijmegen, De Waag, Wat Toorop aan Nijmegen naliet. Tentoonstelling van werken in Nijmeegsch bezit en te Nijmegen ontstaan, 18 June -1 July 1928, no. 10 Nijmegen, Museum Commanderie van St. Jan, Jan Toorop. De Nijmeegse jaren 1908-1916, 1978 Nijmegen, Museum Het Valkenhof, Jan Toorop. Portrettist, 13 September – 23 November 2003 Literature M.J. Schretlen, “Toorop”, Opgang 4 (1924), pp. 26-37, p. 28 (ill.) A. Plasschaert, Jan Toorop, Amsterdam 1925, p. 50, no. 2, fig. 28 Peter Thoben, “Toorops contacten en zijn “opgang” in het katholieke milieu”, in: Jan Toorop. De Nijmeegse jaren 1908-1916, 1978, pp. 34-35 J.T.Th. Noorduijn, “Kwartierstraat Dr. Claas Noorduijn”, in: L.W.M. Berenbroek, P.M. op den Brouw & N.A. Hamers, Zoeklicht op Nijmegen. Genealogische Heraldische Bundel, Nijmegen 1980, p. 53 (ill.) Afstemmen op afstammen. Genealogische tentoonstelling, Gemeentearchief Nijmegen 1980, p. 137 (ill.) Peter van der Coelen, Jan Toorop. Portrettist, 2003, pp. 100-101, no. 27 Note Jan Theodoor Toorop was born on December 20th, 1858 in Purworejo on the Island of Java in the Dutch East Indies (now Indonesia). He was a descendant of a Dutch-Indonesian father and a British mother. In 1869, he left Indonesia for the Netherlands, where he studied polytechnic and art in Delft and Amsterdam. In 1880, Toorop became a student at the Rijksakademie in Amsterdam. From 1882 to 1886, he lived in Brussels, where he became closely involved with the radical exhibition circle Les XX (Les Vingts), a group of artists centered around James Ensor (1860-1949). Talented and adventurous, Toorop embraced stylistic trends with alacrity. By the early 1890s he had experimented with Impressionism and Pointillism, and had begun addressing innocence, evil, death, and the afterlife in mysterious allegorical works characterized by intricately patterned forms and swirling lines that recall the art of his native land. After his marriage to the British Annie Hall in 1886, Toorop alternated his time between The Hague, Brussels and England. After 1890, Toorop also spent time in the Dutch seaside town of Katwijk aan Zee. Toorop died on March 3rd, 1928 in The Hague. As a draughtsman, Jan Toorop was extremely accomplished, both in his use of a range of materials and also in the effects he was able to achieve with them. Toorop produced designs for posters, book illustrations and covers, and postage stamps. He also made around fifty prints, mainly drypoints, for which he perferred to use zinc plates instead of the harder copper plates, which meant that only a few impressions of each print could be made. Toorop was also a superb portraitist, and produced a large number of drawn and painted portraits of family, friends and fellow artists, as well as many portraits – usually in the form of highly finished drawings - of some of the leading Dutch writers, poets, clergymen, politicians, lawyers, musicians, composers and intellectuals of his day. Toorop may justifiably be claimed as one of the finest Dutch portraitists of the early 20th century. After converting to Catholicism, Toorop briefly moved to Nijmegen in 1908, one of the oldest Dutch cities close to the German border and the center of Dutch Catholicism at the time. Here he developed more certainty in his mysticism while church doctrine allowed him a clear iconography. From 1910 on, Toorop’s health prevented him from long hours behind the easel and his focus became works on paper. The present sitter, doctor Claas Noorduijn (1823-1916), played an important role in the community of Nijmegen. As an obstetrician and surgeon, Noorduijn was one of the founders of the Protestant Hospital, now the Wilhelmina Hospital, of which he was the first director. Son of a doctor, Noorduijn was known as uncomplicated and altruistic: treating the poor in his practice. Noorduijn’s portrait certainly is not an indication of his vanity as it was his daughter who commissioned the portrait from Toorop. .
Load more

Recommended publications
  • Romeinen in Katwijk Knooppunt in Een Wereldrijk Parklaan Landschapsarchitecten B.V
    Romeinen in Katwijk Knooppunt in een wereldrijk Parklaan Landschapsarchitecten b.v. T: 073 - 614 01 91 weleer Vughterstraat 221 E: [email protected] erfgoedcommunicatie 5211 GD Den Bosch I: www.parklaan.nl Romeinen in Katwijk Knooppunt in een wereldrijk Een visie op de communicatie van de Romeinse Limes in de gemeente Katwijk voorblad; Katwijk en Brittenburg, van Goyen 1627 februari 2016 1. Aanleiding Verschillende rijks- en provinciale overheden werken op Om het streven naar draagvlak voor het Nederlandse plannen, waarbij elke gemeente een eigen accent of thema landelijk niveau samen om het Nederlandse deel van de deel van de Limes vorm te geven is in 2012 het landelijke kan hebben. Limes, de noordgrens van het Romeinse Rijk, op de UNES- ‘Uitvoeringsprogramma Publieksbereik Romeinse Limes’ CO-werelderfgoedlijst te krijgen. In januari 2014 heeft de opgesteld. De provincie Zuid-Holland heeft bovendien in De provincie Zuid-Holland heeft de erfgoedlijn Limes uitge- gemeente Katwijk daartoe de Intentieverklaring Werelderf- 2013 het Uitvoeringsprogramma Erfgoedlijnen (2013-2016) werkt in het document Romeinse Limes Zuid-Holland, visie goednominatie Romeinse Limes ondertekend1 . De prelude vastgesteld. Alle investeringen in erfgoed in deze periode 2020, meerjarenprogramma 2014-2016. Katwijk wordt in dit hiervan luidt: worden geconcentreerd op zeven erfgoedlijnen, met als beleidsstuk genoemd als te ontwikkelen recreatief-toeris- De Romeinse Limes, de noordgrens van het Romeinse uitgangspunt het streven naar beschermen, beleven en tisch Limesknooppunt. De Limes moet beleefbaar, bekend, Rijk, is de grootste lineaire archeologische structuur in benutten. Eén van die erfgoedlijnen is de Romeinse Limes. bereikbaar en benut worden. Naast de dynamische limes Europa. Een indrukwekkend restant van dit verleden is de Katwijk is daarbinnen door de provincie Zuid-Holland recent is de Oude Romeinse waterbaan belangrijk.
    [Show full text]
  • VU Research Portal
    VU Research Portal Willem van Konijnenburg Rijnders, M.L.J. 2007 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) Rijnders, M. L. J. (2007). Willem van Konijnenburg: Leonardo van de Lage Landen. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 01. Oct. 2021 Summary Willem van Konijnenburg. The Leonardo of the Low Countries During the interbellum the Hague artist Willem van Konijnenburg (1868-1943) was one of the standard-bearers of Dutch modern art. After the Second World War, he disappeared from sight. Why? Closely related to this question are such issues as the nature of his art and his role as an artist, and the way they have been portrayed. What was Van Konijnenburg’s place in the Dutch art world, and was the position accorded him what he himself had hoped for? My research is intended to provide an answer to these questions.
    [Show full text]
  • The Rijksmuseum Bulletin
    the rijksmuseum bulletin 162 the rijks museum bulletin Acquisitions History and Print Room • jenny reynaerts, huigen leeflang, marijn schapelhouman, jeroen luyckx, mei jet broers and harm stevens • 1 attributed to nicolaes de kemp (c. 1550-1600) Genealogy of the Lords and Counts of Culemborg Utrecht, c. 1590-93 Vellum, gouache, ink, silver paint, gold, pigskin, 422 x 312 x 40 mm Around 1590 Floris I of Pallandt, Count of Culem- the family. The genealogy ends with the Pallandts borg, had a genealogy made. The creation of the – Floris’s parents. Dutch Republic some years before had put an end The genealogy is an unusual example of the to princely rule and the exceptional status of the nobility in the Low Countries’ urge to display nobility. The nobles tried to compensate for this their distinguished lineage. The illustrations are through symbolism. To set themselves apart from excellent quality – strikingly the figures have the middle-class ruling elite they stressed their individual facial features. The maker spent a great long lineage of important forebears. Floris I also deal of time on the details and tried to produce tried to legitimize his unique historic status: the the faces of the legendary ancestors as portraits. genealogy, which went back to ad 800, showed It is clear that he based the last generations on that he had come from an illustrious family. existing examples. The figures’ clothes vary from The manuscript consists of fifty-five vellum sheet to sheet, and the artist has even taken the sheets with illustrations attributed to Nicolaes de trouble to reflect the changing fashion through Kemp.
    [Show full text]
  • Power and Other Things to the Newly Independent Indo- Nesia in 1945
    y~t~uyqq~tq0:A<>~1 POWER AND OTHER T HINGS u q|yqy~t~uyq AUTEURS Charles Esche, Riksa Afiaty and Enin Supriyanto FORMAT 21 x 26 cm PAGINATION 176 p. ILLUSTRATIONS 130 BROCHÉ À RABATS ANGLAIS PRIX 28 € (TTC) ISBN 978-94-6161-378-3 OFFICE 19 octobre EXPO Bozar Bruxelles (18 octobre 2017 – 21 janvier 2018) SNOECK FRANCE|w "|­" <<??==>:?;B ÉDITIONS BELGIQUE ;;"rB888w" <;B<B:>?>: he project takes its name from the demand for the transfer of power and other things to the newly independent Indo- nesia in 1945. It travels through time, from European colonial occupation through the development of the republican Tstate to the trans-national contemporary cultures of today. It looks at the various international exchanges that hap- pened in the territories of contemporary Indonesia through the images and ideas of artists. These exchanges were of differ- ent kinds: trade, culture, religion, ideology and war. They produced different results: violence; oppression; racism; creativity; spiritual awakening; and other things. The ideologies and struggles of modernity are common ways in which Indonesia has been depicted by others and has also defined itself over the period. As this modern period recedes into history, the project will seek ways to remember how it has influenced contemporary understanding and ask the current generation of artists to look back in order to rewrite the past and potentially create the conditions for a different future. The catalogue and the exhibition will follow a broad chronological narrative, allowing readers and visitors to learn more about how this huge archipelago has changed over the past two centuries and to observe how it has responded and adapted to different influences originating both from inside and outside the islands.
    [Show full text]
  • Jan Toorop's Stations of the Cross
    Jan Toorop's Stations of the Cross Eileen To111m11 Some of lhc intensity and introspection seen in Jan Where is 77,y Vicrory? In these. his mastery of line is dis­ loorop's work may be due to his inheritance of mixed played in virtuoso fashion. His compositions arc a web of Dutch. Norwegian and Chinese blood (Figure I ). Cer­ tightly packed lines. often difficult to follow. which swirl. tainly. some of it must have been related to his environ­ flow. undulate and somehow manage to be both stylized ment Toorop was born in 1858 in Pocrworedjo. Java. and sensuous. Childhood memories strike deep roots. and his work neve1· In these paintings Toorop·s youthful impressions burst totally escaped the initial promptings of Javanc-sc art and forth from his memory. The mannered, calligraphic line is lhoughl. most representative of Javanese art. In addition, the sinu­ He studi(.il at the Amsterdam Academy. and his earli­ ous shapes of his figures are almost identical to the demi­ est work was conventionally realistic. in0ucnccd somewhat gods in Javanese shadow puppet plays. 10 by Georg-Hendrik Brcilncr·s contemporary genre scenes.I Indonesian an and drama le-an heavily to the sym­ roorop's greatest talent was his fi ne draughtsmanship, and bolic. and there may also be references to thi.s in his paint­ all his t,c-,,1 work has a superior linear quality. ings. causing more than the usual difficulty in interpreting In Rru$scls on scholarship. he seemed to find the Symbolist work. Toorop·s primary theme was always good rcpn.-sentation of nature too superficial fo r his probing verstL~ evil.
    [Show full text]
  • HE MUSEUM of MODERN ART F1 WEST 53RD STREET, NEW YORK 19, N
    31 45319- 11 THE MUSEUM OF MODERN ART f1 WEST 53RD STREET, NEW YORK 19, N. Y. •*LEPHONE: CIRCLE 5*8900 11 FOR IMMEDIATE RELEASE MONDRIAN. MEMORIAL EXHIBITION OPENS AT MUSEUM OF MODERN ART Sponsored by the Netherland-America Foundation, a retrospec­ tive memorial exhibition of the works of the Dutch painter, Piet Mondrian, opens today (Wednesday, March 21) at the Museum of Modern Art, 11 West 53 Street. The exhibition will Include about fifty oils and drawings by this Dutch artist who was the leading painter of the de Stijl group in Holland, and will cover the period from 1900 until the painter's death in New York in February 1944. The exhibi­ tion has been directed by James Johnson Sweeney, Director of the Museum1s Department of Painting and Sculpture. Born March 7, 1872 in Amersfoprt, Holland, Mondrian spent many years in Paris and was the originator of neo-plasticisnw The artist summed up his life work and hopes as follows: "It is my conviction that humanity, after centuries of culture, can accelerate its progress through the acquisi­ tion of a truer vision of reality. Plastic art discloses what science has discovered: that time and subjective vision veil the true reality* "Despite oppressive factors, the great plastic art of the past.has made us feel true reality: it has always struggled to abolish the barriers that prevent expression of this reality. In plastic culture, from,the remotest past down to the present, we see a growing evolution toward freedom, from the limitations of time and subjectivity." Together with fheoxan Doesburg and de Stijl group his in* fluence has been great on modern architecture, typography, and layout design.
    [Show full text]
  • Inventaris Tafels En Indices Op Registers En Publicaties Van Katwijk 1705-1817
    TAFELS EN INDICES OP DE REGIhTERS EN PUBLICATIES VAN HET BESTUUR VAN KATWIJK REPERTORIUM I TAFELS en INDICES op de REGISTERS en PUBLICATIES van het BESTUUR van KATWIJK 1705- 1817(1837) werkgroep archivis tiek studierichting geschiedenis van de Universiteit van Amsterdam studiejaar 177711978 Gemeentebestuur van Katwijk 1981 INHOUD Inleiding VII Indexnr. Inv.nr. of -letter TAFELS OP DE REGISTERS EN DE LOSSE PUBLICATIES VAN DE DORPSBESTUREN DER BEIDE KATWIJKEN, MET INDEX, 1705-1811 Tafel op het "Register van Plakkaten, Reso- lutiën en Missivens ontvangen en beantwoordt zedert primo januarii anno 1718" tot maart 1766 I Tafel op het register van ingekomen en uit- gaande stukken, 1767-1795, voortgezet als notulenboek betreffende de omzetting II Tafel op het notulen-, brieven- en actenboek, 8 april-noverber 1795 I11 Tafel op de losse keuren en ordonnanties van de dorpsbesturen en de ambachtsheer, 1705-1811 IV Index op de boeken I-IV TAFELS OP DE REGISTERS VAN DE CONSEIL- MUNICIPAL EN VAN DE IUIRE, MET IIWEX, 1811-1814 Tafels op de registers van processen-verbaal van de conseil-municipal van Katwijk, 1811-1814 - processen-verbaal van de installaties, 1811- 1813 A - processen-verbaal van de zittingen, 1811-1814 B Tafel op het register van de uitgaande brieven van de maire, mei-augustus 1812 C Index op de boeken A, B en C Indexnr. Inv.nr. pag. of -letter TAFELS OP DE REGISTERS VAN UITGAANDE BRIEVEN VAN ACHTEREENVOLGENS DE MAIRE EN DE PRESIDENT, MET INDEX, 1813-1817 Tafel met index op de uitgaande brieven van D Ie 194b 123 de maire, april-16 november
    [Show full text]
  • The Three Brides a Drawing Byjan Toorop
    The Three Brides A drawing byJan Toorop Robert Siebelhoff Introduction In the international literature dealing with Symbolism and Art Nouveau, Jan Toorop's drawing entitled The Three Brides (1893) is frequently mentioned. This interesting and complicated drawing has also been widely exhibited in recent years, both in The Netherlands and beyond its borders, throughout Europe and North America. lts artistic beauty and intriguing iconography have led to several attempts at interpretation, in Holland and elsewhere. However, the last extensive Dutch interpretation, by Bettina Polak, is already more than twenty years old. And until now no extensive, documented analysis, based on available source materiaIs, has been pub­ lished. In this study the existing sources are presented in a new light. I will offer an analysis of The Three Brides and will endeavour to explain its deeper meaning. I hope that this wiU contribute to an understanding of this im­ portant work of the last decade of the previous century. Here I would like to express my appreciation to Josina Van Nuis Zylstra for her contribution to this publication. She edited the manuscript, prepared it for the press, and provided the English translations appearing in thc Appendices. Background On april 22, 1890, Jan Toorop (1858-1928) and his English wife Annie moved to isolated Katwijk aan Zee, on the Dutch coast just to the west of Leiden. He arrived from Ixelles near Brussels, after an absence from Hol­ land of nearIy a decade. Somewhat earlier, in March of the same year, the poet Albert Verwey (1865-1937) and his young wife Kitty 1 moved into the 'Villa Nova' in Noordwijk, also Iocated on the coast, but slightly further to the north.
    [Show full text]
  • The Avant-Garde Artist, an Entrepreneur?
    The Avant-garde Artist, an Entrepreneur? Jan Toorop and Les XX‟s exhibition at the Haagsche Kunstkring Valérie Alexine Lewis 8 May 2015 Supervisor: Mw. dr. R. Esner Second Reader: Dhr. dr. G.M. Langfeld Universiteit van Amsterdam Faculteit der Geesteswetenschappen Masters Dutch Art Word count: 19.123 Cover page: Portrait of Jan Toorop by Antoon Molkenboer drawn in the society album of the Haagsche Kunstkring. GAG, The Hague, archives of the HKK, No. 262, folder 41. Foreword Throughout this research many people have advised, supported, and encouraged me. I would like to thank all, and a few in particular. First of all, my supervisor Rachel Esner, who has given me insights and ideas to work on and always found a spare moment to answer my questions or help me out in case of doubt. She also handed me several important contacts, who, in their turn, provided me with new entries to deepen my research: Dr. Jan Dirk Baetens, Drs. Mayken Jonkman, and Noémie Goldman, thank you. Secondly, I would like to thank my boyfriend Zeno Koenigs and my friends, who were all keen to hear my newest discoveries and appreciated my enthusiasm, despite their lack of knowledge in Art History. They were great library companions, right until closing hour, and served as good coffee-buddies. Last of all, I would like to express my gratitude to both of my parents, who have supported me and have given valuable advice throughout its (sometimes seemingly eternal) process. 2 Table of Contents Foreword 2 Introduction 5 1. Entrepreneurial artists in the late-nineteenth century 14 1.1.
    [Show full text]
  • Disputed Ownership. on the Provenance of Two Works by Jan
    Disputed Ownership. On the provenance of two works by Jan Toorop in the Boymans Museum: the painting titled The Thames (1885) and the drawing known as Faith in God (Godsvertrouwen) (1907) Anita Hopmans Netherlands Institute for Art History (RKD), The Hague 1 I. Foreword The return of art and cultural artefacts that have illegally father’s former collection of drawings and paintings that changed ownership for any of a variety of reasons is had been owned by the Boijmans Van Beuningen currently the focus of attention. In the Netherlands the Museum Foundation since the end of 1940, and the spotlight has recently been turned on the outcome of the recovered works that were lent to the Boymans Museum request by the heirs of the Amsterdam art dealer Jacques from the national collection after 1945. And the descend- Goudstikker (1897-1940) for the return of the works of ants of the Jewish businessman Ernst Flersheim (1862- art that had come into the national collection after 1945. 1944) claimed, through his grandson Walter Eberstadt, The Dutch government decided to give back a total of two works of art by the artist Jan Toorop (1858-1928). 202 works of art to the heirs. Museums have frequently A great many issues relating to the Second World War been in the news in recent years because of claims proved not to be the closed chapters that many people relating to acquisitions made during or around the time had long taken it for granted they were. of the Second World War. The Boijmans Van Beuningen This publication looks specifically at the questions Museum in Rotterdam is no exception.
    [Show full text]
  • The Neo-Impressionist Portrait, 1886–1904
    Keri Yousif exhibition review of Face to Face: The Neo-Impressionist Portrait, 1886–1904 Nineteenth-Century Art Worldwide 13, no. 2 (Autumn 2014) Citation: Keri Yousif, exhibition review of “Face to Face: The Neo-Impressionist Portrait, 1886–1904,” Nineteenth-Century Art Worldwide 13, no. 2 (Autumn 2014), http://www.19thc- artworldwide.org/autumn14/yousif-reviews-face-to-face-the-neo-impressionist-portrait. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Yousif: Face to Face: The Neo-Impressionist Portrait, 1886–1904 Nineteenth-Century Art Worldwide 13, no. 2 (Autumn 2014) Face to Face: The Neo-Impressionist Portrait, 1886–1904 Indianapolis Museum of Art, Indianapolis June 15–September 7, 2014 Previously at: ING Cultural Center, Brussels February 19–May 18, 2014 Catalogue: The Neo-Impressionist Portrait, 1886–1904. Jane Block and Ellen Wardwell Lee with contributions by Marina Ferretti Bocquillon and Nicole Tamburini. New Haven, CT and London: Indianapolis Museum of Art in association with Yale University Press, 2014. 256 pp.; 105 color illus; 3 b&w illus; artist biographies; appendix on Neo-Impressionist oil portraits, 1886–1904; bibliography; index. $65. ISBN-13 978-0-300-19084-7 The term Neo-Impressionism invokes images of contrasting colors, gradations in light, and the signature pointillism of dappled brush strokes. As Ellen Wardwell Lee, the Wood-Pulliam Senior Curator at the Indianapolis Museum of Art (IMA), argues, the movement’s focus on “the creation and capture of brilliant color and natural light” has produced a Neo-Impressionist canon largely comprised of “landscapes, seascapes, and urban scenes” (IX).
    [Show full text]
  • Redalyc.Piet Mondrian, Plastic Vision and Esthetic Emotion
    El Artista E-ISSN: 1794-8614 [email protected] Universidad Distrital Francisco José de Caldas Colombia Barriga, Jorge Alexander Piet Mondrian, Plastic vision and esthetic emotion El Artista, núm. 8, diciembre, 2011, pp. 109-134 Universidad Distrital Francisco José de Caldas Pamplona, Colombia Disponible en: http://www.redalyc.org/articulo.oa?id=87420931008 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Piet Mondrian, Plastic vision and esthetic emotion Piet Mondrian, Visión plastic y emoción estética Por: Jorge Alexander Barriga Bunsei University of Art Departamento de Artes Plasticas Doctorando en arte Recibido 3/12/11; aceptado 7/12/11 Es la fantasía inconsciente del sujeto lo único que domina en el artista al considerar la belleza. Eduard Von Hartman.1889 Abstract Mondrian expressed that “if color represents meaning and expression it has to be a universal, general meaning formulated in every separated color and specified in the relation unity of image. Unity and relationship are the determinants in the roots of the meaning in color. Yet, he offers no opinion on the question of whether color carries an inner meaning of its own. He needed to make the universal visible; this fact forced him to keep available the possibilities of the pure, saturated color; then, he used it in all of his works. Key words: plasticism, saturation, pure color 1 Mondrian: the painter Mondrian was 20 years old when he started studies at the Amsterdam Public Academy.
    [Show full text]