By Italo Tomassoni
Piet Mondrian performed an incredible position within the improvement of summary artwork through the first 1/2 the 20 th century. because the relocating spirit of De Stijl, the main austere of all abstractionist routine, Mondrian built and performed his proposal of paintings nearly in isolation he owed little to the other artist or tuition of portray. The natural geometrical works of his mature variety, usually composed solely of squares of brilliant reds and yellows rigorously balanced with components of white and intersected by way of vertical or horizontal strains, are the direct expression of his trust in an artwork free of subjectivity—an artwork that was once the expression of a common unchangeable fact.
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His technique has nothing mystical about it it is the systematic elimination of the enclosed form and of the indeterminate and ambiguous form (such as the curve and the circle), and of non-primary colours. It raises the image above particular, relative morphology, and brings the work of art to the limits of the ineffable. It is a rigorously constructive and selective activity which involves the systematic elimination of any Impressionist, Secessionist or Cubist residue. Mondrian's image of multiplied elements represents the extreme experimental amplifications of Cubism passed through the filter of architectonic exactitude.
The prelude to abstraction, therefore, is principally conducted along the Van Gogh-Munch tangent. The flexible arrangement of body colours and (Van Gogh), together with the undulating compositional synthesis (Munch), which gives rise to a symbolistically stylised spatial reduction, and a broad synthesis of immobile frontal images. But whereas for Van Gogh art, as a completely large divisionist brush strokes effects of broad, fluid 27 15 Nude on canvas 50 x 38^ in (140 x 98 cm) Gemeentemuseum, The Hague, Slijper loan e.
In Holland, through the agency of the Amsterdam critic, Conrad Kickert. The impact of the style led to his final break with natural forms and to the definition of his theories of art. 191 2, but A full documentation of Mondrian's researches into Cubism is provided by the two versions of Still-life with Gingerpot of 1912, or later examples of the Trees series from about 191 3, which show a complete development of Analytical Cubism. The Paris of 191 2 was a ferment of aesthetic ideas and speculations; PostImpressionism, Fauvism, Expressionism, Futurism and Cubism were all at their height in that year.