A r t i s t M O N D R I A N

2011 Calendar

Designed by SUJINSOOKMYUNGWOMEN’S UNIVERSITY

2011 Ca lendar

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20111January

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MondrianHe was an important contributor to the De Stijl art movement and group, which was founded by Theo van Doesburg. He evolved a non-representational form which he termed Neo-Plasticism. This consisted of white ground, upon which was painted a grid of vertical and horizontal black lines and the three primary colors.

Piet Mondrian (1872 ~ 1944) | Dutch Painter

ABOUT _MONDRIAN

12011/JAN

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20112Febrary

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PARIS _CUBIST

22011/FEB

1912~ 1914 His various studies of trees from that year still contain a measure of representa-tion, but increasingly, they are dominated by the geometric shapes and interlocking planes commonly found in Cubism. While Mondrian was eager to absorb the Cubist influence into his work,

Tableay no.1 (1913) Still Life with Gingerpot 2 (1912)

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20113March

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HOLLAND _LATE CUBIST

32011/MAR

1914 the late cubist phaseUnlike the Cubists, Mondrian still attempted to reconcile his painting with his spiri-tual pursuits, and in 1913, he began to fuse his art and his theosophical studies into a theory that signaled his final break from representational painting. He increasingly emphasises the straigth and the horizontal- vertical.

Composite (1918) Pier and ocean 4 (1914)

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20114April

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HOLLAND _EARLY NEOPLASTICISM

42011/APR

1917 the early neoplasticismThe first number of de stijl appears in October. The neo-plastic phase:composition in Line, begun in 1916 in the “plus-minus” manner, and completed in early 1917 in the new manner, can be regarded as the first work of the neoplasticism. This is the year in which Mondrian created his first geometric compositions in rectangular planes. Mondrian also calls his work Abstract-Real Art at this time.

Composition in kleur B (1917)Composition in line (1916)

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20115May

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2011/MAY

1920 the early classic phase In the early paintings of this style the lines delineating the rectangular forms are rela-tively thin, and they are gray, not black. The lines also tend to fade as they approach the edge of the painting, rather than stopping abruptly. The forms themselves, smaller and more numerous than in later paintings, are filled with primary colors, black, or gray, and nearly all of them are colored; only a few are left white.

Composition in kleur B (1917)Composition in line (1916)

HOLLAND-PARIS _EARLY NEOPLASTICISM

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20116June

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1920 the early classic phaseDuring late 1920 and 1921, Mondrian’s paintings arrive at what is their definitive and mature form to casual observers. Thick black lines now separate the forms, which are larger and fewer in number, and more of them are left white than was previously the case.

Composition B (1920) Composition with yellow, red, black, blue, and gray (1920)

PARIS _EARLY CLASSIC NEOPLASTICISM

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20117July

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1923~ 1944 the classic neoplasticismMarks the period of classic neoplasticism. Mondrian wanted the infinite, and shape is finite. A straight line is infinitely extendable, and the open-ended space between two parallel straight lines is infinitely extendable. A Mondrian abstract is the most compact imaginable pictorial harmony, the most self-sufficient of painted surfaces.

Tableau, with yellow, black, blue, red, and gray (1923)

Composition no.5 (1930)

PARIS _CLASSIC NEOPLASTICISM

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20118August

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1932 neoplasticismMany of the black lines stop short at a seemingly arbitrary distance from the edge of the canvas, although the divisions between the rectangular forms remain intact. he rectangular forms remain mostly colored. As the years passed and Mondrian’s work evolved further, he began extending all of the lines to the edges of the canvas and he also began to use fewer and fewer colored forms, favoring white instead.

Composition de lignes et color (1937) Composition of red and white (1938) Composition A, with double line and yellow. (1935)

PARIS _NEOPLASTICISM

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20119September

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2011/SEP

1938~1943 neoplasticismIn some examples of this new direction, such as Composition (1938), he appears to have taken unfinished black-line paintings by adding short perpendicular lines of different colors, running between the longer black lines, or from a black line to the edge of the canvas. The newly-colored areas are thick, almost bridging the gap between lines and forms.

Composition_unfinished (1938)

LONDON-NYC _NEOPLASTICISM

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2011 10 October

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2011/OCT

1940 neoplasticismArriving in New York on October 3. Soon after his arrival. Mondrian becomes a member of the American Abstract Artists group. In New York Mondrian first works on canvases brought with him from Europe. Enhancing them with small palnes of primary colors unbounded by black. Bands of color that cross the entire format ap-pear in his first painting initiated in America titled : New York, 1941~ 1942.

New York (1940~1941)

NEW YORK _NEOPLASTICISM

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201111November

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1941~1942 neoplasticismMondrian’s first on man show at the valintine Dudensing’s gallery (January~February). Of a series developed in colored paper tape(without black bands). with only one version(New York City 1)completed in paint. The availability of colored tape. en-courages Mondrian abandonment of the black lines found in his earlier neo-plastic paintings in favor of criss-crossing and overlapping colored bands.

New York City 1_unfinished (1941)

NEW YORK _NEOPLASTICISM

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2011/DEC

1943 neoplasticismHis painting Broadway Boogie-Woogie (1942~1943) at The Museum of Modern Art in Manhattan was highly influential in the school of abstract geometric painting. The piece is made up of a number of shimmering squares of bright color that leap from the canvas, then appear to shimmer, drawing the viewer into those neon lights. In this painting and the unfinished Victory Boogie Woogie (1942~1944),

Broadway boogie woogie (1942~ 1943)

NEW YORK _NEOPLASTICISM