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|Tabakalera-Ubik Orokorra / General||Arteleku||41 MONDRIAN pie (Browse shelf)||Available||655313|
This book presents a comprehensive survey of the work of Piet Mondrian, an artist who has exercised a vast influence on the art of our time -and not only on painting and architecture, but also on the minor arts: interior decoration, furniture design, advertising displays, typography, and book design. Though for many years he was regarded as the most ultra-refined of twentieth-century artists, Mondrian's pervasive presence can now be discerned in innumerable contexts - among them the pages of popular household magazines, the lobbies of apartment houses, and even women's fashions.
Born in Holland in 1872, Mondrian began his career as a talented academic painter. Soon, however, his landscapes depicting the Dutch countryside became suffused with subtle overtones of uniquely original linear patterns, effects of light, and gradations of color. Finally - as he sought to bring out the essence of things - his paintings of trees, sand dunes, church towers, and windmills became progressively more refined until he had ultimately distilled their contours and planes into his well-known areas of primary colors and horizontal and vertical black lines.
In 1917, together with the Dutch artist Theo van Doesburg, he founded the magazine De Stijl. In its pages Mondrian crystallized his aesthetic credo in a number of important essays, some of which may be considered as cornerstones of the abstract movement. During his association with De Stijl, Mondrian was concerned with writing as with painting, but after a rift with van Doesburg he returned to painting with renewed ardor. He called his work "Neo-Plasticism"; his aim was a "pure art."
Mondrian came to the United States in 1940; his final years, spent in New York, afforded him more satisfaction than the previous half century of endeavor. In the United States he not only completed a number of important canvases begun in Europe, but also created a group of new works, inspired by New York, which are regarded as comprising his artistic testament. Among these are two of his masterpieces, Broadway Boogie-Woogie and Victory Boogie-Woogie (the latter unfinished at the time of Mondrian's death in 1944). In these paintings the familiar black lines were eliminated, so that small squares of primary color sparkled against a white background.