Buzz
After graduation, he immersed himself in the Post-Impressionist movement, and his vision for what he wanted to achieve began to evolve. Inspired by artists seeking a more profound expression, he explored techniques such as enhancing the use of light or employing color more imaginatively instead of mere replication.
Reflections on the Essentials
To commence, Mondrian discarded the urge to paint with realistic colors and relinquished the need for perfect replication. He tended to paint in series, depicting the same subject in various ways.In the process of working in series, Mondrian might have applied analytical skills to his art. He became adept at understanding how abstraction could influence the emotional quality and aesthetics of his paintings. He also became more conscious of fundamental, universal patterns existing in nature and how humans interpret them as aesthetic beauty.
Exploring the essence of spirit and place
Later, Mondrian became a member of the Society of Spiritual Wisdom, seeking to connect with and understand the ancient spiritual intelligence of the universe. He believed that art is directly connected to higher questions of life, and through art, the harmonious nature of existence can be conveyed. This influenced Mondrian to simplify his approach, returning everything to their fundamental essence. This is evident in various aspects of his art, such as a gentler form and the use of purer colors.We can observe this clearly in his paintings of apple trees, starting from a detailed depiction to increasingly minimalist representations (see 3 images below). From reality to abstraction.
Piet Mondrian - Sunset Symphony: Scarlet Grove, 1908-1910. Dimensions: 99 x 70cm.
Piet Mondrian - The Ashen Grove, 1911. Oil on canvas. Size: 78.50 cm × 107.5 cm
Piet Mondrian - Blossoms in Time: The Majestic Apple Tree, 1912 In 1912, Mondrian took a pivotal step when he moved to Paris and was influenced by the ideas of Analytical Cubism. The treatment of surface and plane, as well as the limited color palette of this movement, inspired Mondrian to fully invest his artistic endeavors in abstract paintings.Nostalgia
In 1914, Mondrian returned home, but due to World War I, he stayed in the Netherlands for the next 5 years. Back in his homeland, artist Bart van der Leck persuaded Mondrian that the use of his colors still carried a representative quality. He advised Mondrian to focus on fundamental, pure hues.
Piet Mondrian's 'Ocean 5' from 1914, created with charcoal and pigment on paper, measuring 87.6 x 120.3 cm Evolution towards Harmony
Mondrian successfully evolved his distinctive style, termed De Stijl, Dutch for 'The Style.' This approach achieved success in pure abstraction, devoid of any representational references. Mondrian even dispensed with the use of titles for his paintings.In Mondrian's early De Stijl works, he employed fields of color with varying intensities, along with horizontal, vertical, and diagonal lines. Although he swiftly eliminated diagonal lines and opted for only horizontal and vertical lines, which he considered representative of the natural balance, such as action and inaction, or motion and stillness.However, Van Doesburg persisted in using diagonal lines, viewing Mondrian's approach as too restrictive and dogmatic. The subtle differences eventually led to the termination of their collaboration and the demise of De Stijl.
Piet Mondrian, Composition with Red, Blue, and Yellow, 1930, oil on canvas, 46 x 46 cm Expressing the common essence
After the aforementioned period, both artists redefined their interpretations under De Stijl. Van Doesburg termed his new style as Elementarism, while Mondrian referred to his as Neo-Plasticism. Beyond using only horizontal and vertical lines, Neo-Plasticism incorporated primary colors - red, blue, and yellow - alongside fundamental values of black, white, and gray. Mondrian believed that his entirely abstract style described, in the simplest and most direct way, what is essential, real, and universal. He thought that minimizing is necessary for humans to achieve the highest state of existence. This is akin to the artist removing the ego in their work so that all viewers can connect with each other profoundly.
Piet Mondrian, Broadway Boogie-Woogie, 1942 - one of the painter's last works before his passing. During this period, he resided in New York, where the city represented a microcosm of modernity for him. He was moved by the energy of jazz music and the seemingly endless rhythm pulsating through the streets. It was unlike any city he had lived in before, such as Paris or London.
