Petrus Mondrian

Petrus Cornelius Mondriaan (Nederlandice Pieter Cornelis "Piet" Mondriaan), post 1906 Mondrian^[1] (Amersfoort Nederlandiae 7 Martii 1872; Manhatae Novi Eboraci 1 Februarii 1944), fuit pictor et artis theoreticus Nederlandicus qui unus ex artificibus saeculi vicensimi maximi momenti habetur.^[2]^[3] Novitatibus in arte abstracta innotuit, nam suum studium artisticum a pictura figurativa ad modum magis magisque abstractum, donec suum vocabularium artisticum ad simplicia elementa geometrica imminutum esset.^[4]

Ars Mondriana maxime erat utopiana, atque ab investigatione dignitatis aestheticarum universalium tenebatur. Mondrian anno 1914 pronuntiavit: "Ars realitate altior est, et cum realitate recte non coniungitur. Homo, ut spiritualitatem in arte appropinquet, realitate quam minime utetur, quia realitas spiritualitati adversatur. Nos coram quadam arte abstracta esse scimus. Ars supra realitatem stare debet; aliter homini nihil valeret."^[7] Eius autem ars radices in natura semper egebat.

De Stijl, motui artis gregique, intererat, quem cum Theodoro van Doesburn fundavit. Formam non repraesentativam excogitavit quam neoplasticismum appellavit. Qui erat nova "ars plastica pura," quae credidit necessaria ad "pulchritudinem universalem" creandam. Mondrian, ut hanc monstraret, eius vocabularium formale circumscribere constituit inter tres colores primarios (rubrum, caeruleum, flavum), tria pretia primaria (nigrum, album, canum), duasque partes primarias (libratum, rectum).^[8] Mondrian anno 1911, cum Lutetiam a Nederlandia migraret, penitus mutari coepit. Experimentis Cubisticis occurrit, et ut intra avant-garde Lutetianum facilius intraret, litteram A ex suo nomine (Mondriaan) amovit.^[9]^[10]^[11]

Opera Mondriana artem saeculi vicensimi magnopere moverunt, non solum cursum picturae abstractae ac multorum momenti modorum artisque motuum (inter quos pictura campi colorum, expressionismus abstractus, minimalismus), sed etiam campos extra picturae dominium afficientia, sicut designatio, architectura, et moda.^[12] Stephanus Bayley, historicus designationis, dixit: 'Mondrian ipse modernismum significare coepit. Eius nomen eiusque opus ideale modernisticum altum summatim describunt. Vocabulum iconicum aversor; ergo dicamus eum fieri totemicum — totemum omnium quae modernismus esse proposuit.^[13]

Liber Plasticum Novum in Pictura

Mondrian librum Plasticum Novum in Pictura (De Nieuwe Beelding in de schilderkunst)^[14] partibus decem annis 1917 et 1918 protulit, qui prima suae theoriae artificis descriptio erat. Verba autem Mondriana optima et saepissime allata de hac theoris legitur in epistula quam Henrico Bremmer anno 1914 scripserit:

Mixturas linearum et colorum in superficie plana construo, ut pulchritudinem generalem maxima conscientia significem. Natura (vel quod videam) me inspirat; me, ut ullum pictorem, in statum mentis redigit ut impulsus in me oriatur ut aliquid faciam, sed veritati quam propinquissime appropinquare et omnia ex ea abstrahere volo, donec fundamenta (iam solum fundamenta externa) rerum attingam. . . . Credo fieri posse quod, per lineas libratas rectasque conscientia constructas, sed non per ratiocinationem, ab intuitione ductae, et ad harmoniam et rhythmum allatae, hae primae pulchritudinis formae, si necesse est, lineis rectis vel flexibus amplificatae, opus artis fieri potest, tam forte quam verum.^[15]

Cum Lutetiae esset, gratia modi cubistici Pauli Picasso et Georgii Braque paene statim in operibus Mondrianis apparuerunt.

Notae

↑ "Mondrian". Random House Webster's Unabridged Dictionary.
↑ Hughes 1980.
↑ Blotkamp 1994b: 9.
↑ Gardner, Kleiner, & Mamiya 2006: 780.
↑ Den Haag
↑ Lodder, Kokkori, et Mileeva 2013.
↑ Anglice "Art is higher than reality and has no direct relation to reality. To approach the spiritual in art, one will make as little use as possible of reality, because reality is opposed to the spiritual. We find ourselves in the presence of an abstract art. Art should be above reality, otherwise it would have no value for man" (Seuphor 1956: 117).
↑ Alley 1981: 532–533.
↑ Seuphor 1956.
↑ "Mondrian and his Studios". Tate
↑ Pieter Cornelis (1872–1944), www.inghist.nl.
↑ Darwent 2014.
↑ Anglice "Mondrian has come to mean Modernism. His name and his work sum up the High Modernist ideal. I don’t like the word ‘iconic’, so let’s say that he’s become totemic—a totem for everything Modernism set out to be" (Darwent 2014).
↑ Mondrian 1986: 18–74.
↑ Anglice "I construct lines and color combinations on a flat surface, in order to express general beauty with the utmost awareness. Nature (or, that which I see) inspires me, puts me, as with any painter, in an emotional state so that an urge comes about to make something, but I want to come as close as possible to the truth and abstract everything from that, until I reach the foundation (still just an external foundation!) of things. . . . I believe it is possible that, through horizontal and vertical lines constructed with awareness, but not with calculation, led by high intuition, and brought to harmony and rhythm, these basic forms of beauty, supplemented if necessary by other direct lines or curves, can become a work of art, as strong as it is true." Jackie Wullschlager (2010), "Van Doesburg at Tate Modern," Financial Times, 2 Iunii.

Bibliographia

Alley, Ronald. 1981. "Piet Mondrian." In Catalogue of the Tate Gallery's Collection of Modern Art Other than Works by British Artists, 532–533. Londinii:Tate Gallery and Sotheby Parke-Bernet.
Apollonio, Umbro. 1976. Piet Mondrian. Medilani: Fabri
Bax, Marty. 2001. Complete Mondrian. Aldershot Hantoniae et Burlingtoniae Montis Viridis: Lund Humphries. ISBN 0853318034. ISBN 0853318220.
Blotkamp, Carel. 1987. Mondriaan in detail. Traiecti ad Rhenum: Veen, et Antverpiae: Reflex. ISBN 9063221479.
Blotkamp, Carel. 1994a. Mondriaan: Destructie als kunst. Suvollae: Waanders. ISBN 9066304855.
Blotkamp, Carel. 1994b. Mondrian: The Art of Destruction. Londinii: Reaction Books.
Boulez, Pierre, et John Cage. 1995. The Boulez-Cage Correspondence. Ed. nova, Jean-Jacques Nattiez ed.; conversus e Francogallice a Robert Samuels. Cantabrigiae et Novi Eboraci: Cambridge University Press. ISBN 0521485584.
Busignani, Alberto. 1968. Mondrian: The Life and Work of the Artist, Illustrated by 80 Colour Plates. Conversus ex Italiana Caroline Beamish. Dolphin Art Book. Londinii: Thames and Hudson.
Cooper, Harry A. 1997. Dialectics of Painting: Mondrian's Diamond Series, 1918–1944. PhD diss., Harvard University.
Deicher, Susanne. 1995. Piet Mondrian, 1872–1944: Structures in Space. Coloniae: Benedikt Taschen. ISBN 3822888850.
Darwent, Charles. 2014. Complex Simplicity: The Enduring Influence of Mondrian.^{[nexus deficit]} Londinii: Sotheby's.
Faerna, José María, ed. 1997. Mondrian. Great Modern Masters. Novi Eboraci: Cameo / Abrams. ISBN 0810946874.
Gardner, H., F. S. Kleiner, & C. J. Mamiya. 2006. Gardner's art through the ages: the Western perspective. Belmont Californiae: Thomson Wadsworth.
Gooding, Mel. 2001. Abstract Art. Movements in Modern Art. Londinii: Tate Publishing. ISBN 1854373021. Cantabrigiae et Novi Eboraci: Cambridge University Press. ISBN 0521809282, ISBN 0521006317.
Guerrand, Jean R. 1988. Souvenirs cousus sellier: un demi-siècle chez Hermès. Lutetiae: Oliver Orban. ISBN 2855653770.
Hajdu, István. 1987. Piet Mondrian. Budapestini: Corvina Kiadó. ISBN 9631322653.
Hanssen, Léon. 2015. De schepping van een aards paradijs: Piet Mondriaan 1919-1933. Amstelodami: Querido. ISBN 9789021458106.
Hughes, Robert. 1980. Trouble in Utopia. The Shock of the New, episodium 4. BBC, 21 Septembris.
Janssen, Hans. 2008. Mondriaan in het Gemeentemuseum Den Haag. Hagis: Gemeentemuseum Den Haag. ISBN 9789040084430.
Larousse and Company. 1976. Mondrian, Piet. In Dictionary of Painters, 285. Novi Eboraci: Larousse and Co.
Locher, Hans. 1994. Piet Mondrian: Colour, Structure, and Symbolism: An Essay. Bernae: Verlag Gachnang & Springer. ISBN 9783906127446.
Lodder, Christina, Maria Kokkori, et Maria Mileeva. 2013. Utopian Reality: Reconstructing Culture in Revolutionary Russia and Beyond. Brill.
Milner, John. 1992. Mondrian. Londinii: Phaidon. ISBN 0714826596.
Mondrian, Piet. 1986. The New Art—The New Life: The Collected Writings of Piet Mondrian, ed. Harry Holtzman et Martin S. James. Documents of 20th-Century Art. Bostoniae: G. K. Hall and Co. ISBN 08005799575. Reimpressus 1987, Londinii: Thames and Hudson. ISBN 0500600112. Reimpresses 1993, Novi Eboraci: Da Capo Press. ISBN 0306805081.
Schapiro, Meyer. 1995. Mondrian: On the Humanity of Abstract Painting. Novi Eboraci: George Braziller. ISBN 080761369X. ISBN 0807613703.
Seuphor, Michel. 1956. Piet Mondrian: Life and Work. Novi Eboraci: Abrams.
Strauss, Walter A. 1989. Stacey, Peter F. Boulez and the Modern Concept. Lincoln: University of Nebraska Press, 1987. SubStance 18(2), issue 59:131–134.
Welsh, Robert P., et Joop M. Joosten. 1998. Piet Mondrian: catalogue raisonné. 2 vol. Blarici: V K Publishing. ISBN 9789066116214.
Welsh, Robert P., Joop J. Joosten, and Henk Scheepmaker. 1998. Piet Mondrian: catalogue raisonné, Conversus Jacques Bosser. Blaricum: V K Publishing / Inmerc.
Wiegand, Charmion. 1943. The Meaning of Mondrian. The Journal of Aesthetics and Art Criticis 2(8):62–70. Blackwell Publishing pro American Society for Aesthetics. doi:10.2307/428636. JSTOR 428636.

Nexus externi

Vicimedia Communia plura habent quae ad Petrum Mondrian spectant.

Vicicitatio habet citationes quae ad Petrum Mondrian spectant.

Collectio Mondriana. Museum at Guggenheimianum Novi Eboraci.
Jaffé, H. L. C. 1956. Jaffé De Stijl 1917–1931: The Dutch Contribution to Modern Art. Amstelodami: J. M. Meulenhoff.
Mondrian Trust.
Piet Mondrian. Quinque pelliculae. Arttube.
Piet Mondrian Papers. Bibliotheca Librorum et Manuscriptorum Rarorum Beineckiana in Universitate Yalensi Portu Novo Connecticutae.
Piet Mondrian: The Transatlantic Paintings. Harvardartmuseums.org.
RKD et Gemeentemuseum Den Haag.

[1] "Mondrian". Random House Webster's Unabridged Dictionary.

[2] Hughes 1980.

[3] Blotkamp 1994b: 9.

[4] Gardner, Kleiner, & Mamiya 2006: 780.

[5] Den Haag

[6] Lodder, Kokkori, et Mileeva 2013.

[7] Anglice "Art is higher than reality and has no direct relation to reality. To approach the spiritual in art, one will make as little use as possible of reality, because reality is opposed to the spiritual. We find ourselves in the presence of an abstract art. Art should be above reality, otherwise it would have no value for man" (Seuphor 1956: 117).

[8] Alley 1981: 532–533.

[9] Seuphor 1956.

[Tate-10] "Mondrian and his Studios". Tate

[11] Pieter Cornelis (1872–1944), www.inghist.nl.

[12] Darwent 2014.

[13] Anglice "Mondrian has come to mean Modernism. His name and his work sum up the High Modernist ideal. I don’t like the word ‘iconic’, so let’s say that he’s become totemic—a totem for everything Modernism set out to be" (Darwent 2014).

[14] Mondrian 1986: 18–74.

[15] Anglice "I construct lines and color combinations on a flat surface, in order to express general beauty with the utmost awareness. Nature (or, that which I see) inspires me, puts me, as with any painter, in an emotional state so that an urge comes about to make something, but I want to come as close as possible to the truth and abstract everything from that, until I reach the foundation (still just an external foundation!) of things. . . . I believe it is possible that, through horizontal and vertical lines constructed with awareness, but not with calculation, led by high intuition, and brought to harmony and rhythm, these basic forms of beauty, supplemented if necessary by other direct lines or curves, can become a work of art, as strong as it is true." Jackie Wullschlager (2010), "Van Doesburg at Tate Modern," Financial Times, 2 Iunii.

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