Originally published in print February 2021.
Geographical planes and primary colours are elements of neoplasticism that transform fragmentation into form, and chaos into simplicity. These stylistic choices were advanced by Dutch artist Piet Mondrian (1872-1944) in a new era of expressionism known as ‘De Stijl’ (1917-1931). The National Gallery of Ireland’s limited exhibition on Mondrian showcases the chronological evolution of the artist’s work, from beginnings in naturalism, to pointillism and cubism, to the Neoplasticism Mondrian is renowned for today.
I visited the exhibit back in December 2020 during Ireland’s quick stint at Level 3; while the exhibit is no longer open for in-person viewing, the National Gallery has released a fantastically comprehensive online exhibit on Vimeo, led by the Gallery’s Janet McClean. On loan from the Kunstmuseum Den Haag, the works span over a 40-year period, first detailing Mondrian’s humble beginnings as a young Calvinist in the Netherlands at the turn of the 19th century. The artist’s time in the farming communities of North Brabant induced his fascination with texture and shape. While the subject of Mondrian’s paintings is largely agricultural, the artist does not focus on the details of the landscapes. Rather, as demonstrated in ‘Barn at Nistelrode’ (1904), Mondrian concentrates on the form of his subjects, squaring out blocks to bring attention to the natural angles of the composition.
With a burgeoning artist’s community specialising in light, colour, and pointillism, the Dutch province of Zeeland became a place of great inspiration for Mondrian. Intrigued by the intersection of spirituality and thought, Mondrian frequented the theosophical communities of Doesburg, Zeeland. These communities advocated for the maintenance of balance, harmony, and a spiritual connection with nature. As demonstrated in ‘Lighthouse at Westkapelle’ (1906), ‘Dune III’, and ‘Arum Lily, Blue Flower’ (1909), Mondrian painted through the lens of theosophy, bringing attention to the horizontal and the vertical. A dotted pointillist style with blue and green contrasts against hues of pink and orange, further emphasizing Mondrian’s prescription to the linear forces of nature. This period for the artist is verging on abstract; even so, it is grounded in the naturalist elements that are a central theme in all of Mondrian’s art.
After viewing an exhibit on Picasso, Sézanne, and Braque, Mondrian became enthralled with cubism. With a piqued interest in abstract art, Mondrian moved to Paris in 1911 and worked closely with artists including Rivera and Delaunay. Mondrian captured trees and buildings, reducing the forms of the subjects into their basic shapes. The artist’s time in Paris marked a key transition in his work. Cubist compositions, including ‘Composition in Oval, Color Planes’ (1914), became the basis of Mondrian’s most iconic paintings.
In 1914, at the onset of World War I, Mondrian fled his Paris apartment for the Netherlands. The artist remained confined in Holland for the duration of the war, although it was during this period that Mondrian came together with Theo van Doesburg (1883-1931) to begin an internationalised art movement known as ‘De Stijl’, dutch for ‘The Style’. The two artists began this small community to establish a new artistic language that focused on elements of Mondrian’s past: the horizontal, the vertical, and primary colours. Although the group soon split over an artistic disagreement, Mondrian continued to utilize the techniques of Neoplasticism.
Mondrian returned to Paris after the war to continue advancing his art. Of all works produced, ‘Composition with Red, Blue, Black, Yellow, and Gray’ (1921) is the most striking; Mondrian eliminated details to produce a painting that reverberates tranquility. Stylized internet reproductions don’t do the composition’s texture justice; in person, Mondrian’s brush strokes are imperfect, and purposely rough. Whilst precision is not an obstacle for the artist, colour accuracy carves the way for resplendent visuals. Shades of white vary from egg white to a soft gray. Mondrian layers the paintings with consistent red, yellow and blue, using orange as an accent colour. Thick black lines differentiate the colour blocks, ensuring the simplistic appearance of a two-dimensional figure. Mondrian advanced further ‘De Stijl’ through repetition and variation until his death in early February 1944.
The artist’s contemporaries have employed impressions of Mondrian’s Compositions in art, architecture, fashion, and film. In the 21st century, Mondrian’s name is closely associated with modernism, naturalism, and internationalism; modern creatives will continue to appreciate and draw inspiration from Mondrian’s work for generations to come.
While the National Gallery is closed due to Level 5 Covid-19 restrictions, the Piet Mondrian Exhibit is available online until February 14th.
