Composition with Yellow Mondrian's interest lay in the abstract quality of line but by 1914 he had all but eliminated the curved line from his work.
By 1916 he had suppressed any sense of a subject. Still later he developed a new form of rigorous abstraction called Neo Plasticism in which he limited himself to straight, horizontal and vertical lines and basic primary colours. Typically his compositions were not symmetrical but could scarcely be purer in their elements. He felt this art reflected a greater, universal truth beyond everyday appearance. Purchased from Mrs Donald Ogden Stewart (Special Grant in Aid) 1964Mrs Donald Ogden Stewart (Ella Winter), New York and London (purchased from the artist in 1943 or 1944)Mondrian, Valentine Gallery, New York, January February 1942 (3) as '1939 42'; Piet Mondrian 1872 1944, Whitechapel Art Gallery, London, August September 1955 (54, repr. in colour); Mondrian, Sidney Janis Gallery, New York, September November 1957 (28, repr.); Hollndische Maler im 20. Jahrhundert, Kunsthalle, Kiel, June July 1959 (34, repr. in colour); 3 Ages, Stedelijk Museum, Amsterdam, June September 1960 (70, repr. in colour); Verzameling Ella Winter, Stedelijk Museum, Amsterdam, December 1961 January 1962 (70, repr.); Piet Mondrian, Nationalgalerie, Berlin, September November 1968 (72, repr. in colour); Mondrian, Orangerie des Tuileries, Paris, January March 1969 (97, repr. in colour); Piet Mondrian 1872 1944, Guggenheim Museum, New York, October December 1971 (126, repr.); Kunstmuseum, Bern, February April 1972 (109, repr. in colour)Michel Seuphor, Piet Mondrian: Life and Work (London 1956), No.576, p.431, repr. figs.26 7; Maria Grazia Ottolenghi, L'Opera Completa di Mondrian (Milan 1974), No.453, p.115, repr. p.115 and pl.41 in colour; Robert Welsh, 'The Place of "Composition 12 with Small Blue Square" in the Art of Piet Mondrian' in The National Gallery of Canada Bulletin, 29/1977, 1978, pp.27, 31, repr. Wijsenbeek, Piet Mondrian (London 1969), pl.123 in colour The double date 1939 42 inscribed on this work would seem to show that this picture was begun during Mondrian's stay in London and finished after his move to New York, but Robert P. Welsh has discovered that it appears in a photograph of Mondrian's Paris studio taken by the Dutch photographer Oorthuys in 1937 or 1938 (repr. Welsh, op. cit., pl.18), and was therefore actually begun in Paris. This would account for the fact that it is painted on a French canvas with the stamp of the art supplier Lefebvre Foinet. The photograph shows it mounted on a backboard and leaning against the wall. The very bottom, from the bottom of the red rectangle downwards, is concealed from view but there seems no doubt that it is this picture, despite a number of differences. The four black horizontal bands appear to be the same as those in the finished picture; on the other hand it lacks the vertical band on the extreme left and the two on the extreme right (except for a short black stripe to the right of the coloured rectangle). This rectangle, which appears to be red and to be the only note of colour in the picture, does not fill the whole of the present square as the right hand side is occupied by another vertical black stripe and a narrow band of white. The white areas seem to show smudgy traces of several earlier vertical black lines (possibly only drawn in) in different positions, indicating that the artist had already birkenstock online made some adjustments to the composition, but it is not clear whether the whites had been thinly painted by this stage or were simply the white of the priming. The finished picture shows various signs dansko of extensive reworking. In particular, it seems that the surface was originally coated with flat paint and that most areas were afterwards overpainted with thicker, creamier paint and with brush strokes at right angles to the original ones. The yellow rectangle at the top left hand corner seems to belong to the early, thinly white birkenstock sandals painted phase, whereas the birkenstock sandals women's sale red square has been overpainted in thicker paint, as have all the larger rectangles of white. At some stage, the edges were taped to hide the tacks and then painted with white, except that the yellow was also carried round the edges. The last elements to be added were almost certainly the blue and red stripes towards the bottom, which are in his late style (as it was only in New York that he began to work with coloured stripes instead of black ones). The initials and date must have been added shortly before the opening of his exhibition at the Valentine Gallery in January 1942, in which almost all the paintings had a double dating ending in '42, and it would seem that he had forgotten by then exactly when it had been begun.
It seems that this picture was started in his very austere style of the latter half of the 1930s as a predominantly linear composition, with only one small rectangle of colour, and that he afterwards made various modifications to it which made it much more colourful and gayer in feeling. The exact date of the photograph of Mondrian's studio is unrecorded. The page in the Cas Oorthuys album into which it is stuck is annotated 1938, but Mrs Oorthuys believes that it was taken in the year of the Paris International Exhibition, which was 1937.
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