Piet Mondrian war ein niederländischer Maler der klassischen Moderne. Der Künstler, der die Stilrichtung des Neoplastizismus schuf, gilt als wichtigster Vertreter des niederländischen Konstruktivismus sowie der von Theo van Doesburg so bezeichneten Konkreten Kunst. Er gehörte mit seinem späteren Werk zu den Begründern der abstrakten Malerei.
Mondrian begann um 1900 im impressionistischen Stil der Haager Schule zu malen. Ab etwa 1908 arbeitete er unter dem Einfluss von Vincent van Gogh und des Fauvismus. Nach seiner Übersiedlung 1911 nach Paris wandte er sich unter dem Einfluss von Georges Braque und Pablo Picasso dem Kubismus zu. Ab den 1920er Jahren schuf Mondrian die bekannten streng geometrischen Gemälde, die dem Neoplastizismus zugerechnet werden. Ihre charakteristische Struktur aus einem schwarzen Raster, verbunden mit rechteckigen Flächen in den Grundfarben, führt bis in die Gegenwart zur Aufnahme in Kunst, Architektur, Mode, Werbung und Populärkultur. Als Kunsttheoretiker und Mitbegründer der Künstlervereinigung De Stijl schrieb Mondrian unter anderem die Schrift Le Néo-Plasticisme, die 1925 in deutscher Übersetzung als Bauhausbuch Nr. 5 unter dem Titel Neue Gestaltung. Neo-Plastizismus, Nieuwe Beelding veröffentlicht wurde. Die im Exil in New York ab 1940 neu entstandenen Werke lockerte er mosaikartig in die Primärfarben auf und überwand auf diese Weise die früheren strengen Kompositionen zugunsten der neuen musikalischen Rhythmisierung des Motivs.
Wikipedia
“The surface of things gives enjoyment, their interiority gives life.”
Written note in Mondrian's sketchbook around 1911; quoted in Abstract Painting, Michel Seuphor, Dell Publishing Co.,1964, p. 11
1910's
As quoted by the editors of 'The New Art – The New Life', op. cit. (Intro., note 1), p. 395, note 8
1920's
Quelle: 1940's, A New Realism', 1943-1945, p. 18
Quote in Mondrian's letter to Israel Querido, Summer of 1909; published in the weekly magazine 'De Controleur' 23 Oct, 1909; as cited in English translation, in Two Mondrian sketchbooks 1912 - 1914, ed. Robert P. Welsh & J. M. Joosten, Amsterdam 1969 p. 10
1900's
Quote, 1919, as cited in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 148
1910's
1910's, Natural Reality and Abstract Reality', 1919
Mondrian's reaction on a questionnaire (c. 1931?)
Quote of Mondrian, as cited in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 166
1930's
1910's, Natural Reality and Abstract Reality', 1919
“You can so wonderfully be yourself here”
in Paris
Quote of Mondrian from his postcard to a Dutch girlfriend, Paris 1911 (written in his first week in Paris), by Mondrian's recent biographer Hans Janssen, of the Gemeentemuseum in The Hague; as cited by Alastair Sooke, in 'Mondrian - the Joy of Being Square'; BBC culture, 10 July 2017 http://www.bbc.com/culture/story/20170710-mondrian-the-joy-of-being-square
1910's
Quote in a letter of Mondrian to Sweeney, 24 May 1943; as cited in: - 102 - Two autobiographical texts (24 May 1943) http://mondrianwritings.nl/wp-content/uploads/2017/03/102.-Two-autobiographical-texts-24-May-1943.pdf
This idea was partly the reason of their mutual split in 1924; in 1929 they reconciled in Paris.
1940's
Quote of Mondrian before 1930; as cited in 'The New Art – The New Life', Piet Mondrian, op. cit. Introd. Note 1., 1931
1930's
1910's, Natural Reality and Abstract Reality', 1919
quote, 1937; last lines of Mondrian's publication in 'Circle'; as cited in Abstract Art, Anna Moszynska; Thames and Hudson, London 1990, p. 117
1930's
note in Mondrian's sketchbook II, 1912/13; as quoted in Two Mondrian sketchbooks 1912 - 1914, ed. Robert P. Welsh & J. M. Joosten, Amsterdam 1969 op. cit. (note 31), p. 61
1910's
like in Neo-Plasticism / De Stijl
Quote in Mondrian's letter to Lodewijk van Deyssel (who reacted as Dutch art critic on Mondrians essay: 'Le Néo-plasticisme'] Paris, February 1921; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 136
1920's
Quote in his letter to Sweeney, 24 May 1943; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 240
1940's
Quelle: Later Quote of Mondrian, about 1910-1914; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 42
Quote in: 'Plastic Art and Pure Plastic Art', Piet Mondrian (1937); in 'Documents of modern Art' ed. Robert Motherwell for Wittenborn, Schulz, New York 1945
1930's
Quote in Mondrian's letter to Cornelis Spoor, Domburg October 1910; Van Ginneken and Joosten, op. cit. (note 26), pp. 263; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 47
1910's
quote about the growing controversy between Mondrian and Van Doesburg. concerning the use of diagonal lines
Quelle: quote from a letter of Mondrian to Theo van Doesburg, undated, c. May 1918; as cited in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 120
Quote in: 'Plastic Art and Pure Plastic Art', Piet Mondrian (1937); in 'Documents of modern Art' ed. Robert Motherwell for Wittenborn, Schulz, New York 1945
1930's
Quote in Mondrian's letter to Theo van Doesburg, 18 April 1919; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, pp. 125-6
1910's
1910's, Natural Reality and Abstract Reality', 1919
Quote in 'The New Art – The New Life', Piet Mondrian, op. cit. Introd. Note 1., 1931
1930's
Quote in: 'L'expression plastique nouvelle dans la peinture', Piet Mondriaan, 'Cahiers d'Art', 1, Paris, 1926, pp. 181-183
1920's
Quote from Mondrian's letter to Israel Querido, Summer of 1909; published in the weekly magazine 'De Controleur' 23 Oct, 1909; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 36
1900's
