Mondrian, Piet - Neo-Plasticismo
Self-portrait, 1900
Oil on canvas
49 x 38 cm
The Phillips Collection. Washington D.C.
Pollard Willows on the Gein, 1902-04
Oil on canvas
53.5 x 63 cm
Collection Gemeentemuseum Den Haag. The Hague.
Windmill, 1904
Watercolour on paper mounted on canvas board
77 x 53.5 cm
MacKenzie Art Gallery, Saskatchewan
Red Amaryllis with Blue Background, c. 1907
Watercolor on paper
18 3/8 x 13" (46.5 x 33 cm)
The Museum of Modern Art, New York
Molen (Mill); Mill in Sunlight, 1908
Oil on canvas
114 x 87 cm (44 7/8 x 30 1/4 in)
Haags Gemeentemuseum, The Hague
Avond (Evening); Red Tree, 1908
Oil on canvas
70 x 99 cm (27 1/2 x 39 in)
Haags Gemeentemuseum, The Hag
View from the Dunes with Beach and Piers, Domburg, 1909
Oil and pencil on cardboard
11 1/4 x 15 1/8" (28.5 x 38.5 cm)
Museum of Modern Art, New York City
Amaryllis, 1910
Watercolor on paper
39 x 49 cm (15 3/8 x 19 3/8 in)
Private collection
Gray Tree, 1911
Oil on canvas
78.5 x 107.5 cm (30 7/8 x 42 3/8 in)
Haags Gemeentemuseum, The Hague
Still Life with Gingerpot I, 1911
Oil on canvas
25 3/4 x 29 1/2 inches
Guggenheim Museum, New York City
Still Life with Gingerpot II, 1912
Oil on canvas
37 1/2 x 47 1/8 inches
Guggenheim Museum, New York City
Trees, c. 1912
Oil on canvas
37 X 27 7/8 in. (94 X 70.8 cm)
Carnegie Museum of Art, Pittsburgh, Pennsylvania
Alberi in fiore, 1912
Oil on canvas
65 x 75 cm
G. J. Nieuwenhuizen. Seagar. L'Aia. Holland
Composition No. XI, c. 1912
Oil on canvas
Kröller-Müller Museum, Otterlo, Netherlands
Tableau No. 2/Composition No. VII, 1913
Oil on canvas
41 1/8 x 43 3/4 inches
Guggenheim Museum, New York City
Composition XIII, 1913
Oil on canvas
79,5 x 63,5 cm
Museo Thyssen-Bornemisza, Madrid
Composition in Oval with Color Planes 1, 1914
Oil on canvas
42 3/8 x 31" (107.6 x 78.8 cm)
Museum of Modern Art, New York City
Tableau no. 2 / Composition no. V. 1914
Oil on canvas
21 5/8 x 33 5/8" (54.8 x 85.3 cm)
Museum of Modern Art, New York City
Ocean 5, 1915. [Previously published as The Sea, 1914.]
Charcoal and gouache on paper, mounted on panel, paper
87.6 x 120.3 cm; panel 90.2 x 123 x 1.3 cm
Guggenheim Museum, New York City
Composition, 1916
Oil on canvas with wood strip nailed to the bottom
46 7/8 x 29 5/8 inches
Guggenheim Museum, New York City
Composition with Color Planes and Gray Lines 1, 1918
Oil on canvas
49 x 60.5 cm (19 1/4 x 23 7/8 in)
Private collection
Composition with Gray and Light Brown, 1918
Oil on canvas
31 9/16 x 19 5/8 in. (80.2 x 49.9 cm)
Museum of Fine Arts, Houston, Texas
Composition with grid 5: lozenge, composition with colours, 1919
Oil on canvas
Kröller-Müller Museum, Otterlo, Netherlands
Composition with Grid 7, 1919
Oil on canvas
49 x 49 cm
Kunstmuseum Basel, Switzerland
Composition A: Composition with Black, Red, Gray, Yellow, and Blue, 1920
Oil on canvas
91.5 x 92 cm (36 x 36 1/4 in)
Galleria Nazionale d'Arte Moderna e Contemporanea, Rome
Composition with Red, Blue and Yellow-Green, 1920
Oil on canvas
Wilhelm-Hack-Museum. Ludwigshafen/Rehin
Lozenge Composition with Yellow, Black, Blue, Red, and Gray, 1921
Oil on canvas
60.1 x 60.1 cm (23 5/8 x 23 5/8 in)
Vertical axis 84.5 cm (33 1/4 in)
The Art Institute of Chicago
Composition with Red, Blue, Black, Yellow, and Gray, 1921
Oil on canvas
29 7/8 x 20 5/8" (76 x 52.4 cm)
Museum of Modern Art, New York City
Composition with Large Blue Plane, Red, Black, Yellow, and Gray, 1921
Oil on canvas
60.5 x 50 cm (23 3/4 x 19 5/8 in)
Dallas Museum of Art
Composition with Blue, Yellow, Black, and Red, 1922
Oil on canvas
53 x 54 cm (20 7/8 x 21 1/4 in)
Staatsgalerie, Stuttgart
Tableau 2, with Yellow, Black, Blue, Red, and Gray, 1922
Oil on canvas
21 7/8 x 21 1/8 inches
Guggenheim Museum, New York City
Composition with Blue, Black, Yellow, and Red, 1922
Oil on canvas
39 cm x 34.7 cm
Harvard University Art Museums, Massachusetts
Lozenge Composition with Red, Black, Blue, and Yellow, 1925
Oil on canvas
77 x 77 cm (30 3/8 x 30 3/8 in.)
vertical axis 108 cm (42 1/2 in.)
Private collection
Fox Trot; Lozenge Composition with Three Black Lines, 1929
Oil on canvas
78.2 x 78.2 cm (30 3/4 x 30 3/4 in)
Vertical axis 110 cm (43 1/4 in)
Yale University Art Gallery
Composition nº III/Fox-trot B, with Black, Red, Blue, and Yellow, 1929
Oil on canvas
17 7/8 x 17 7/8 in. (45.4 x 45.4 cm)
Yale University Art Gallery, New Haven, Connecticut
Composition with Blue and Yellow, 1929
OIl on canvas
52 x 52 cm
Museum Boymans, Rotterdam. Holland
Composition with Yellow, 1930
Oil on canvas
46 x 46.5 cm (18 1/8 x 18 1/4 in)
Kunstsammlung Nordrhein-Westfalen, Duesseldorf
Composition with Double Line and Yellow, 1932
Oil on canvas
45.30 x 45.30 cm
National Galleries of Scotland, Edinburgh
Composition with Blue and Yellow (Composition Bleu-Jaune), 1935
Oil on canvas.
28 3/4 x 27 1/4 in. (73.0 x 69.6 cm.)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Rhythm of Black Lines, c. 1935/42
Oil on canvas
72.2 x 69.5 cm
Kunstsammlung Nordrhein-Westfalen, Dusseldorf
Composition blanc, rouge et jaune,1936
Oil on canvas
80 x 62.2 cm (31 1/2 x 24 1/2 in)
Los Angeles County Museum of Art
Vertical Composition with Blue and White, 1936
Oil on canvas
121.3 x 59 cm
Kunstsammlung Nordrhein-Westfalen, Dusseldorf
Composition No. 12 with Blue, 1936-1942
oil on canvas
62 x 60.3 cm
National Gallery of Canada, Ottawa
Composition with Yellow, Blue and Red, 1937-42
Oil on canvas
72.5 x 69 cm (28 1/2 x 27 1/8 in.)
Tate Gallery, London
Composition No. 8, 1939-42
Oil on canvas
75 x 68 cm (29 1/2 x 26 3/4 in)
Kimbell Art Museum, Fort Worth
Composition No. 10, 1939-1942
Oil on canvas
31 1/2 x 28 3/4 in. (80 x 73 cm)
Private collection
Trafalgar Square. 1939–43
Oil on canvas
57 1/4 x 47 1/4" (145.2 x 120 cm)
The Museum of Modern Art, New York City
New York City, 3 (unfinished), 1941
Oil on canvas
117 x 110 cm
Museo Thyssen-Bornemisza, Madrid
New York City, 1941-42
Oil on canvas
119 x 114 cm (46 7/8 x 44 7/8 in)
Musée National d'Art Moderne, Centre Georges Pompidou, Paris
Broadway Boogie Woogie, 1942-1943
Oil on canvas
50 x 50 in. (127 x 127 cm)
The Museum of Modern Art, New York
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Na obra "Composition with Blue and Yellow, 1929", o canto superior esquerdo de uma grelha assimétrica, pintada em amarelo simples, é elegantemente equilibrado por uma área mais pequena em azul. As linhas fortes a preto e os rectângulos a branco separam as duas cores primárias, criando uma composição harmoniosa. Esta obra, ilusoriamente simples, coloca as formas e as cores num perfeito equilíbrio. Mondrian, aparentemente, movia as cores pela grelha até que elas ficassem perfeitas, como se a natureza as tivesse colocado ali. A redução da forma a figuras puramente geométricas e a limitação da cor ao amarelo e ao azul sobre o branco e o preto são típicas de Mondrian. Em 1917, em conjunto com Van Doesburg, aplicou as suas ideias no movimento conhecido como De Stijl, que defendia o quadrado, o cubo e o ângulo recto como símbolos da natureza. Na última parte da sua vida, pouco antes do início da Segunda Guerra Mundial, Mondrian foi para Londres e depois para Nova Iorque, onde executou trabalhos influenciados pelos ritmos do jazz. Piet Mondrian nasceu em Amersfoort (HOL) em 1872 de morreu em Nova Iorque (EUA) em 1944.
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Piet Mondrian was born Pieter Cornelis Mondriaan, Jr., on March 7, 1872, in Amersfoort, the Netherlands. He studied at the Rijksakademie van Beeldende Kunsten, Amsterdam, from 1892 to 1897. Until 1908, when he began to take annual trips to Domburg in Zeeland, Mondrian’s work was naturalistic—incorporating successive influences of academic landscape and still-life painting, Dutch Impressionism [more], and Symbolism [more]. In 1909, a major exhibition of his work (with that of Jan Sluyters and Cornelis Spoor) was held at the Stedelijk Museum, Amsterdam, and that same year he joined the Theosophic Society. In 1909 and 1910, he experimented with Pointillism and by 1911 had begun to work in a Cubist mode. After seeing original Cubist works by Georges Braque and Pablo Picasso at the first Moderne Kunstkring exhibition in 1911 in Amsterdam, Mondrian decided to move to Paris. There, from 1912 to 1914, he began to develop an independent abstract style. Mondrian was visiting the Netherlands when World War I broke out and prevented his return to Paris. During the war years in Holland, he further reduced his colors and geometric shapes and formulated his non-objective Neo-Plastic style. In 1917, Mondrian became one of the founders of De Stijl [more]. This group, which included Theo van Doesburg, Bart van der Leck, and Georges Vantongerloo, extended its principles of abstraction and simplification beyond painting and sculpture to architecture and graphic and industrial design. Mondrian’s essays on abstract art were published in the periodical De Stijl. In July 1919, he returned to Paris; there he exhibited with De Stijl in 1923, but withdrew from the group after van Doesburg reintroduced diagonal elements into his work around 1925. In 1930, Mondrian showed with Cercle et Carré and in 1931 joined Abstraction-Création. World War II forced Mondrian to move to London in 1938 and then to settle in New York in October 1940. In New York, he joined American Abstract Artists and continued to publish texts on Neo-Plasticism. His late style evolved significantly in response to the city. In 1942, his first solo show took place at the Valentine Dudensing Gallery, New York. Mondrian died February 1, 1944, in New York.
Guggenheim Museum
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on Segunda-feira, Março 12, 2007 at 7:02 PM.
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5:55 PMMuito boa a ordem das obras. Fica clara a evolução do autor.
Primeira vez no blog. Ótimo!
1:12 AM
muy bueno el blog, felicitaciones
A
4:19 AM
Belo trabalho de organização das obras com os respectivos históricos dos autores. Abraço do Brasil,
Patrícia
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