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11/13/17
BIS 209
Art Research Paper
Piet Mondrian (1872-1944) was a dancer, jazz enthusiast, mathematician and an artist. As an
artist, Stoye states that Mondrian developed art according to the artistic periods he lived through
while merging all his prior experiences into a piece of art. 1 Mondrian exhibited works during the
impressionism, post-impressionism, favism, and cubism eras until he finally distinguished his
own art style, one he is most famous for, that he coined as Neoplasticism. Neoplasticism, like
perpendicular lines,” projecting only primary colors, nonrepresentational figures and essentially
strips content to its bare minimum.2 Bentkowska-Kafel continues to describe that Mondrian’s
level.”3 Neoplasticism is Mondrian’s attempt at, what Stokstad states as, a “universal beauty”4
that all artists can admire. Since his earliest works Mondrian has always depicted a form of
abstraction, but it is Mondrian’s continuous progress from figurative art into geometric
abstraction that has claimed him to be one of the most important twentieth-century artists.
The artifacts that exemplify Mondrian’s title and spirituality are presented throughout this
passage: Lonely Tree at the Gein Sun, Avond (Evening): The Red Tree, The Gray Tree,
1
Stoye, Jurgen. "Piet Mondrian's Victory Boogie Woogie, 1942-44: The Painting as Illustration of the Biography of
Landscape." In Landscape Biographies: Geographical, Historical and Archaelogical Perspectives on the
Production and Transmission of Landscapes (Amsterdam: Stoye, Jurgen, 2015), 235-52.
2
Bentkowska-Kafel, Anna, Hugh Denard, eds., Paradata and Transparency in Virtual Heritage. (Farnham: Taylor
& Francis, 2012), 115.
3
Ibid.
4
Stokstad, Marilyn, and Michael W. Cothren. Art History: Eighteenth to Twenty-First Century Art. (Upper Saddle
River: Pearson Education, 2014), 1052.
1
Composition 10 in black and white, Composition with Red, Blue and Yellow, and Victory Boogie-
Woogie.
Living through impressionism (beginning around late 1860s) and inspired by Vincent van
Gogh, Kandel explains that Mondrian’s artwork began with “landscapes, farms, and windmills.”5
His work aligned quite significantly with the impressionist movement in a variety of ways and
Lonely Tree at the Gein Sun (oil on canvas, 1907, figure 1) illustrates such alignment. The
entire composition consists of a landscape in an area in the Netherlands called Gein. Gein has a
windmill that Mondrian portrays in another one of his impressionist-style pieces around the same
time as Lonely Tree at the Gein Sun (Windmill in the Gein) so it becomes clear that Mondrian is
familiar with the scenery he is depicting. Like other impressionists, Mondrian painted the scene
outdoors and not with imagination and memory. There is a mixture of color varying between
green, grey, and blue. The colors all vary in brightness as well and an implication of a light
source is developed because of this. On the painted water, there are rough silhouettes of the trees
shadows represented in darker tone of blue than the surrounding blue. Strangely, the tall tree near
the center of the painting has two shadows reflected on the water. Impressionists would often
paint scenes throughout the day, so their light source and shadows would move as the artists was
painting. Mondrian uses a Dionysian brush strokes and a wide-open space for all the objects in
his painting. However, to the left of the piece the tree is not painted in full and is cut off from the
viewers point of view which was a technique that is commonly influenced by photography.
Mondrian continues to paint trees in different styles throughout his career exhibiting the art style
and his philosophical standing of the time. Lonely Tree at the Gein Sun represents Mondrian’s
5
Kandel, Eric R.. Reductionism in Art and Brain Science: Bridging the two Cultures. (New York: Columbia
University Press, 2016), 77.
2
core, abstract personality that he expresses through his later works because impressionism does
not depict reality as detailed as possible but rather is an abstraction of objects through time
depicted in multiple light sources over time. Though minimal, Mondrian’s abstract practices in
Lonely Tree at the Gein Sun helped spark the beginning of the nonrepresentational abstraction
began to disperse in styles but had used impressionism as the foundation for their work.6
Stokstad continues describing the early twentieth-century in which artists began to use a drastic
contrast and “explosive colors.”7 As a result, Fauvism was developed and influenced Mondrian
to include it in some of his works. However, Salcman states that Mondrian would only “use the
primary colors of red, yellow, and blue” instead of any significantly-dramatic colors that defined
Fauvism. 8 Mondrian first expressed the primary colors together in Avond (Evening): The Red
Tree (oil on canvas, 1910, figure 2). Salcman defines Mondrian’s Avond (Evening): the Red
Tree as the beginning of his “tree motif.”9 Mondrian depicts a radically different representation
of a tree when compared to the trees in Lonely Tree at the Gein Sun. The first noticeable quality
is the limited color: only the primary colors are used. Mondrian uses the blue to dominate the
medium while the red stands out distinctly and defines the content of the tree. As the viewer
moves their gaze upwards towards the tree, the branches lose their red tone and become dark,
interweaving lines that form a variety of shapes within them. Compared to blue and red, yellow
is used minimally and instead as dots and small dashes which further expresses the dominance of
6
Stokstad. p. 1052.
7
Ibid.
8
Salcman, Michael. "Piet mondrian's (1872-1944) Composition A, 1920: On the Road to Perfection." World
Neurosurgery. (2014):447-450.
9
Ibid.
3
blue. The red that makes up the base of the tree is similarly painted on the bottom and off the tree
as if the tree was a giant rose and all the petals have been stripped off. Steinman states that the
falling of the red leaves represent “the changing of seasons from autumn to winter”10 or maybe it
is a symbol representing Mondrian stripping away his earlier, more-natural pieces of art into an
evolved form of art style. In contrast to his earlier works in impressionism, Mondrian further
abstracts his paintings by excluding all colors except the primaries. It is in the painting Avond
(Evening): The Red Tree where Mondrian begins to experiment and abstract color in his
Post-impressionism had come to an end and, during the late 1900s, Cubism reached new
heights in popularity for artists. Invented by Picasso and Georges Braque, Cubism had inspired
Mondrian significantly, particularly, what Kandel notes as, the “analytic Cubist style” instead of
the synthetic Cubist style. 11 Analytic Cubism involves depictions from reality but defines them
in geometrical forms. Mondrian was fond of the analytic cubist style’s removal of detail into a
basic and geometric depiction. According to Stokstad, Mondrian would define the abstraction
Continuing the tree series and his activity in abstraction, Mondrian composed The Gray
Tree (oil on canvas, 1911, figure 3). Compared to Avond (Evening): The Red Tree, Mondrian’s
The Gray Tree provides less figurative detail and conforms to Cubist standards of geometry.
Mondrian moves away from any color and only uses grey to depict the background, and black to
shape the strong lines that distinguish the tree. The brush strokes near the bottom of the painting
are thick and horizontal, constantly repeating through the rest of the piece but with each one
10
Steinman, Lawrence and Robert C Axtell, eds. "Piet Mondrian's trees and the evolution in understanding multiple
sclerosis, Charcot Prize Lecture 2011." Multiple Sclerosis Journal. (2013):5-14.
11
Kandel. p. 79
12
Stokstad. p.1052
4
varying in length. Salcman describes Mondrian’s cubist abstraction of a natural entity as unique
for an abstract artist because the differences that lie between the two concepts of the natural and
the human-defined geometry are drastic. Kandel notes that The Gray Tree is Mondrian’s
experimentation with the universal representation of form.13 Mondrian’s The Gray Tree
expresses the quality of Neoplasticism that continues to strip figures into their basic forms. By
using a figure from the natural world and breaking it down to its basic structure, Mondrian
begins construct the basis for universal beauty while at the same time moving away from the
Four years after The Gray Tree, Mondrian delves himself into a sea of perpendicular lines
in Composition No. 10 Pier and Ocean (oil on canvas, 1915, figure 4). During 1914, according
to the Kroller-Muller Museum, Mondrian returned to the Netherlands but wasn’t able to go back
to Paris due to World War I.14 In those years, Mondrian had lived near the sea and, after multiple
iterations, composed Composition No. 10 Pier and Ocean.15 With no color used except the black
lines and the white background, Mondrian depicts opposing forces by using vertical and
horizontal lines, where Kandel states that the two forces represent different life forces, one
living, one dead.16 Mondrian, not only breaking down the structure of the ocean, breaks down the
structure of the society at the time of the war. Just like the waves the make up the sea can be
broken down into vertical and horizontal lines, so can the society be broken down to those who
are living and those who are dead. Furthermore, there is an invisible circle surrounding this wave
13
Kandel. p. 77
14
"Compositie 10 in zwart wit, 1915 Piet Mondrian.” Kroller-Muller Museum. https://krollermuller.nl/en/piet-
mondriaan-composition-10-in-black-and-white. (Accessed November 12, 2017)
15
“Composition No. 10 Pier and Ocean, 1915.” Piet Mondrian Biography, Paintings, and Quotes. http://www.piet-
mondrian.org/pier-and-ocean.jsp. (Accessed November 12, 2017).
16
Kandel.
5
Stokstad explains that in 1917 Holland, Theo van Doesburg developed a magazine titled De
Stijl (“The Style”).17 Doesburg wrote about a variety of artforms and notably distinguished
beauty into categories of subjectivity and objectivity. Stokstad explains that Doesburg’s
definition of objective beauty inspired artists at the time, including Mondrian, to strive for
objectivity in their work.18 During this time, Mondrian was influenced by M.H.J. Shoenmaeker’s
concept, Theosophy which stated that perception of nature entailed opposing, but balancing,
forces. Kandel states that Mondrian’s philosophical standpoint around 1917, influenced by
Doesburg and Shoenmaeker, had led him to “reduce the complex forms of the visual world to
their essentials” which is what they define as “reductionism.”19 Feinstein states that the reduction
of detail into basic forms guided Mondrian “to the creative breakthrough he made in the late
1910s and early 1920s.”20 Eventually, around 1919, Salcman states that “Cubism was out of
fashion;” while artists moved away from geometric forms, Mondrian had continued to expand
what he thought Cubism intended to succeed.21 According to Kandel, Mondrian had “believed
that his spiritual vision of modern art would transcend divisions in culture and become a
common international language,”22 expressing Mondrian’s overall goal while breaking down
Cubism into further abstraction. It is after Mondrian discovered Theosophy and associated
himself with the De Stijl group that he began to spiritualize his works. The Art Story quotes
Mondrian stating that “through Theosophy I became aware that art could provide a transition to
the finer regions, which I will call the spiritual realm,”23 perhaps a realm that allows for the
17
Stokstad. p. 1052
18
Ibid.
19
Kandel. p. 83
20
Feinstein, Jonathan. The Nature of Creative Development. (Palo Alto: Stanford University Press, 2006), 375.
21
Salcman.
22
Kandel. p. 84
23
“Piet Mondrian.” The Art Story.http://www.theartstory.org/artist-mondrian-piet.htm. (Accessed November 14,
2017).
6
universal beauty he attempts to depict. Seemingly cold, Mondrian tightly packs his works after
1917 with meaning, including the concept of the infinite expressed through distinct, dark lines.
However, Woeiczorek points out that, as the public viewer, there is a “tendency to focus mainly
on formal aspects” and his focus on flatness.24 However, Mondrian’s inclusion of spirituality in
his life had developed a new art style, one that has made him one of the greatest artists of his
time, Neoplasticism: A style involving strictly vertical and horizontal lines and primary colors all
while expressing the spiritual influences of Theosophy and De Stijl. It becomes difficult to view
Mondrian’s work as flatness when the spiritual message is emitting from the work.
Mondrian’s Composition with Red, Blue and Yellow (oil on canvas, 1930, figure 5) is the
culmination of all the work in his prior artistic years and classic Neoplastic. Mondrian paints a
grid in sharp vertical and horizontal lines that either travel across the entire medium or stop on
another black line but express infinity through their seemingly endless length. Excluding black
and white, there are only three colors in the entire painting: the primary colors red, blue, and
yellow. The colors are in geometrical shapes that, if calculated, represent the golden ratio. Like
da Vinci’s, both artist described the golden ratio in ways of beauty. However, as da Vinci
focused more on anatomy, Mondrian continues to strip qualities into their absolute core and
foundations. However, what is kept similar between the two artists is the idea of beauty through
Mondrian paints his last piece in 1944 titled Victory Boogie-Woogie (oil on canvas, figure
Woogie that Mondrian seems to finally merge the ideas of Neoplasticism with the rest of the
24
Wieczorek, Marek. "Space and Evolution in Piet Mondrian's Early Abstract Paintings." (PhD diss., Columbia
University, 1997.) https://search.proquest.com/docview/304362447?accountid=14784.
7
world. The once thick and powerful black lines are now made up of primary colors in random
sequences and are no longer as linear and geometric as defined in his previous works. There is no
one color dominating the piece unlike previous compositions that were overwhelmed with white.
During the height of Mondrian’s Neoplasticism, he had strictly avoided representational aspects
where in Victory Boogie-Woogie, Stoye states that he is explicitly expressing the landscape of
New York City.25 Mondrian may have thought about what seems to be his motto, what The Art
Story says he’s been quoted with: “always further.”26 When Mondrian noticed that cubism had
lost its intention in geometric abstraction, he had stated that he would move “always further”27 to
achieve the goal that he thought cubism was set out to achieve, which involved the ideas of what
is now Neoplasticism. However, Victory Boogie-Woogie doesn’t seem to align with Mondrian’s
prior definitions of universal beauty and what Neoplasticism is defined as. In Victory Boogie-
Woogie, Mondrian provides two perspectives on the city’s landscape, returning to a figurative
representation rather than a complete geometric abstraction. The first perspective is an aerial
view of the city which was unusual because it would be too difficult to paint directly above the
city. The aerial depiction refers to Felix Nadar’s influence on Mondrian’s Victory Boogie-
Woogie since he, as discussed in class, was one of the first photographers to capture an aerial
view.28 The second perspective is from the side and illustrates the towering buildings made up of
ideas of opposing and balancing forces in Theosophy, Mondrian was also influenced by jazz.
Mondrian describes jazz as a “pure rhythm” of intensity and contrasting sounds.29 Mondrian
25
Stoye. p. 238.
26
The Art Story.
27
The Art Story.
28
Class Lecture.
29
Mondrian, Piet. "O Jazz E O Neoplasticismo." Novos Estudos (2008). 181-189.
8
created a seemingly unrelated relationship with his strict geometric depictions and jazz, which
consists of a fluid type of art style but maintains the basic standards for music. The San
Francisco Museum of Modern Art indicated that Mondrian’s attempts to strip art to its
fundamental characteristics aligned with jazz music’s ability to strip music to its basic forms to
allow a flow of looseness and creativity. 30 Mondrian’s Victory Boogie-Woogie, like jazz music,
represents a “rhythmic swarming of the great city with its giant buildings and straight streets.”31
I wanted to portray another perspective on Mondrian’s painting Composition with Red, Blue,
and Yellow. My version, titled Red, Blue, Yellow, Red (Acrylic on cardboard, 2017, Figure 7)
consists of six reproductions of Mondrian’s Composition with Red, Blue, and Yellow on each
side of a cardboard box made from scratch. The juxtaposition that exists between the flatness of
each copy and the three-dimensionality of the box itself refers the Mondrian’s standing in
Theosophy; the inclusion of opposing, but balancing forces. The lack of proper structure from
the box continues to express the quality of objective and pure geometric versus human
involvement and imperfection, another pair of opposing and balancing forces. Furthermore, as
one copy of Mondrian’s piece ends, another begins and does so continuously to extend
Mondrian’s concept of infinity in a more interactive way for the viewer than a two-dimensional
canvas. The box is constructed from leftover cardboard which pays respect to Mondrian’s
influence on design in architecture. I chose Composition with Red, Blue, and Yellow because it
exemplifies the initial definition of Neoplasticism that Mondrian’s later works skewed away
30
San Francisco Museum of Modern Art. [July 22, 2010] Mondrian and dance [Video]. Retrieved November 12,
2017 from https://www.youtube.com/watch?v=3Km8yTnmzTI .
31
“Victory Boogie-Woogie 1944.” Piet Mondrian Biography, Paintings, and Quotes. http://www.piet-
mondrian.org/victory-boogie-woogie.jsp. (Accessed November 13, 2017).
9
On top of being a dancer, jazz aficionado, mathematician, and artist, Mondrian was a
storyteller by documenting his life by the style of his works. Sadly, Mondrian was not able to see
the impact he had on the world because Mondrian-inspired works were developed afterwards.
Wieczorek quotes Nancy Troy in a review on Troy’s The Afterlife of Piet Mondrian, that the
“Mondriania, - the artifacts inspired by Mondrian – are integral to the ways in which Mondrian
and his work have been seen and appreciated.”32 Mondriania expanded into artifacts involved in
exactly Mondrian’s universalizing concept of Neoplasticism that has inspired so many other
artists and non-artists to develop “Mondriania.”33 Though Mondrian can’t recognize the
universal beauty he created throughout multiple platforms, he achieved what he set out to do and
32
Wieczorek, Marek. "The Price of Immortality." Oxford Art Journal (2015):157-160.
33
Ibid.
10
Figure 1.
Lonely tree at the Gein Sun
Mondrian, Piet
1907
Oil on canvas
99.06 cm x 125.73 cm
Period: Impressionism
Figure 2.
Avond (Evening): The Red Tree
Mondrian, Piet
1910
Oil on canvas
99 x 70 cm
Period: Post-Impressionism
Figure 3.
The Gray Tree
Mondrian, Piet
1912
Oil on canvas
109.1 x 79.7 cm
Period: Cubism
11
Figure 4.
Composition 10 in black and
white
Mondrian, Piet
1915
Oil on Canvas
85 x 110 cm
Figure 5.
Composition with Red, Blue and
Yellow
Mondrian, Piet
1930
Oil on canvas
66 x 86 cm
Period: Neoplasticism
Figure 6.
Victory Boogie-Woogie
Mondrian, Piet
1944
Oil on canvas
127 x 127 cm
Period: Neoplasticism
12
Figure 7.
Photograph of Red, Blue, Yellow,
Red,
Rossiytsev, Michael
2017
Acrylic on Cardboard
30.48 x 30.48 x 30.48 cm
13
Bibliography
Bentkowska-Kafel, Anna, Hugh Denard, Marilyn Deegan, Lorna Hughes, Harold Short, and Andrew
Prescott. 2012. Paradata and Transparency in Virtual Heritage. Farnham: Taylor & Francis.
n.d. Composition No. 10 Pier and Ocean, 1915. Accessed November 12, 2017. http://www.piet-
mondrian.org/pier-and-ocean.jsp.
Feinstein, Jonathan. 2006. The Nature of Creative Development. Palo Alto: Stanford University Press.
Kandel, Eric R. 2016. Reductionism in Art and Brain Science: Bridging the two Cultures. New York:
Columbia University Press.
Kroller-Muller Museum. Compositie 10 in zwart wit, 1915. Piet Mondrian. Accessed November 12,
2017. https://krollermuller.nl/en/piet-mondriaan-composition-10-in-black-and-white.
Mondrian, Piet. 2008. "O Jazz E O Neoplasticismo." Novos Estudos 181-189.
Parveen, Nikhat. n.d. Mathematics and Art. Accessed 11 9, 2017.
http://jwilson.coe.uga.edu/emat6680/parveen/Math_and_Art.htm.
Salcman, Michael. 2014. "Piet mondrian's (1872-1944) Composition A, 1920: On the Road to
Perfection." World Neurosurgery 447-450.
San Francisco Museum of Modern Art. 2010. Mondrian and dance. San Francisco, July 22.
https://www.youtube.com/watch?v=3Km8yTnmzTI .
Steinman, Lawrence, Robert C Axtell, Donald Barbieri, Roopa Bhat, Sara E Brownell, Brigit A de Jong,
Shannon E Dunn, et al. 2013. "Piet Mondrian's trees and the evolution in understanding multiple
sclerosis, Charcot Prize Lecture 2011." Multiple Sclerosis Journal 5-14.
Stokstad, Marilyn, and Michael W. Cothren. 2014. Art History: Eighteenth to Twenty-First Century Art.
Upper Saddle River: Pearson Education.
Stoye, Jurgen. 2015. "Piet Mondrian's Victory Boogie Woogie, 1942-44: The Painting as Illustration of
the Biography of Landscape." In Landscape Biographies: Geographical, Historical and
Archaelogical Perspectives on the Production and Transmission of Landscapes, by Jurgen Stoye,
235-52. Amsterdam: University Press.
The Art Story. n.d. Piet Mondrian. Accessed November 14, 2017. http://www.theartstory.org/artist-
mondrian-piet.htm.
2011. Victory Boogie-Woogie, 1944 by Piet Mondrian. Accessed November 13, 2017. http://www.piet-
mondrian.org/victory-boogie-woogie.jsp.
Wieczorek, Marek. "Space and Evolution in Piet Mondrian's Early Abstract Paintings." Phd diss,
Columbia University. 1997. https://search.proquest.com/docview/304362447?accountid=14784.
Wieczorek, Marek. 2015. "The Price of Immortality." Oxford Art Journal 157-160.
14