Piet Mondrian "Composition in Gray and Yellow" Rug
EGE-ART Piet Mondrian Carpet Rug. Composition in Gray Yellow 1913. 20th Century Masters Line 1975.
This is a mid-century gem ... more EGE-ART Piet Mondrian Carpet Rug. Composition in Gray Yellow 1913. 20th Century Masters Line 1975.
This is a mid-century gem at a total steal of a price. Currently on sale on first dibs for eighteen thousand dollars. Don't miss this deal!
Gorgeous and nuanced pallet of secondary colors (purples, oranges) and its uneven, grid like pattern.
This is a stunning landmark in the history of art, as Mondrian investigates the essentials of experience and beauty as a means to express them through line and color.
In other words the essence of the living, the organic, the mortal is conveyed by the artist through the use of line and geometry. This is the same "line" and the same "geometry," with its symmetry and strict proportion, that had reigned victorious as the Classical ideal for thousands of years over all things fallible, alive and with the capacity to feel and emote. Mondrian is telling us that there is no ideal to aspire to, because the ideal has been here and has been you the whole time. As per the famous Zen saying, the only difference between the enlightened and the unenlightened is that the enlightened being knows that there is no difference between the enlightened and the unenlightened. They are one.
If you are at all interested, please do not hesitate to purchase / bid or ask questions, my inventory is curated quite carefully, is composed of extreme rarities and often goes quite quickly both online and in the real world. Thank you!
When Mondrian saw Cubist paintings by Georges Braque and Pablo Picasso at a 1911 exhibition in Amsterdam, he was inspired to go to Paris. Composition in Grey and Yellow, painted a year after his arrival in 1912, exemplifies Mondrian’s regard for the new technique.
With a procedure indebted to high Analytic Cubism, Mondrian broke down his motif—in this case a tree—into a scaffolding of interlocking black lines and planes of color; furthermore, his palette of close-valued ocher and gray tones resembles Cubist canvases. Yet Mondrian went beyond the Parisian Cubists’ degree of abstraction: his subjects are less recognizable, in part because he eschewed any suggestion of volume, and, unlike the Cubists, who rooted their compositions at the bottom of the canvas in order to depict a figure subject to gravity, Mondrian’s scaffolding fades at the painting’s edges. In works such as Composition 8, based on studies of Parisian building façades, Mondrian went even further in his refusal of illusionism and the representation of volume.
During the war years, Mondrian continued to move toward greater abstraction, rejecting diagonal lines and decreasing his reliance on his favored subjects—trees, seascapes, and architecture. Composition, which developed from studies of a church, is among the last of his works that can be traced to an observable source.
Canvases like this make it clear that Mondrian’s interest lay foremost in coming to terms with the two-dimensionality of the painted surface.
The inexorable consistency and internal logic of his solutions hint at a larger conceptual principle, which is outlined in great depth in the artist’s extensive theoretical writings.
Like many pioneers of abstraction, Mondrian’s impetus was largely spiritual. He aimed to distill the real world to its pure essence, to represent the dichotomies of the universe in eternal tension. To achieve this, he privileged certain principles—stability, universality, and spirituality—through the yin/yang balancing of horizontal and vertical strokes.
His philosophical framework was grounded in the Neoplatonic and Tantric-inspired texts of authors connected to the Theosophical Society, the Dutch branch of which had counted Mondrian as a member since 1909.
Mondrian published "De Nieuwe Beelding in de schilderkunst" ("The New Plastic in Painting") in twelve installments during 1917 and 1918. This was his first major attempt to express his artistic theory in writing. Mondrian's best and most-often quoted expression of this theory, however, comes from a letter he wrote to H. P. Bremmer in 1914:
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. less
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Otto Binx in Brooklyn, NY
After more than a decade in academia, both as doctoral candidate at NYU’s Institute ...
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