miércoles, 7 de junio de 2017


Christa Zaat

La imagen puede contener: cielo, árbol y exterior

La imagen puede contener: cielo, árbol y exterior

Pieter Cornelis Mondriaan (Dutch painter) 1872 - 1944
Boerderij bij Duivendrecht (Farm near Duivendrecht), ca. 1916
oil on canvas
34 x 42 1/2 in. (86.3 x 107.9 cm.)
signed, l.r.: "Piet Mondriaan"
Art Institute of Chicago, Chicago, United States of America

Though Piet Mondrian is best known for his nonrepresentational paintings, his basic vision was rooted in landscape. He was particularly inspired by the flat topography of his native Holland, a subject he returned to even after he had begun working in an abstract style after attending an exhibition of the Cubist paintings of Georges Braque and Pablo Picasso in 1911. Mondrian first sketched this farm around 1905. Nine of the twenty known related paintings and drawings of the farm, however, were created later, during World War I. Mondrian likely returned to the subject because his wartime patrons generally preferred his earlier naturalistic compositions to his recent experiments with Cubism.

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Most of his work from this period in The Netherlands (1872-1911) is Naturalistic or Impressionistic, consisting largely of landscapes. These Pastoral images of his native country depict windmills, fields, and rivers, initially in the Dutch Impressionist manner of the Hague School and then in a variety of styles and techniques documenting his search for a personal style.
In 1911, Mondrian moved to Paris and changed his name (dropping an 'a' from Mondriaan) to emphasize his departure from The Netherlands. This matched the changed signature on his works that is dated to before 1907.
While Mondrian was visiting home in 1914, World War I began, forcing him to remain in The Netherlands for the duration of the conflict. During this period, he stayed at the Laren artist's colony, there meeting Bart van der Leck and Theo van Doesburg, who were both undergoing their own personal journeys toward Abstraction.
When the war ended in 1918, Mondrian returned to France, where he would remain until 1938. Immersed in the crucible of artistic innovation that was post-war Paris, he flourished in an atmosphere of intellectual freedom that enabled him to embrace an art of pure abstraction for the rest of his life.

La imagen puede contener: cielo, árbol y exterior

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