Happy Birthday Piet Mondrian...!...

"Vertical and horizontal lines are the expression of two opposing forces; they exist everywhere and dominate everything; their reciprocal action constitutes ‘life’. I recognized that the equilibrium of any particular aspect of nature rests on the equivalence of its opposites."

EARLY LIFE

Mondrian was born in Amersfoort in the Netherlands, the second of his parents' children. He was descended from Christian Dirkzoon Monderyan who lived in The Hague as early as 1670. The family moved to Winterswijk in the east of the country, when his father, Pieter Cornelius Mondrian, was appointed Head Teacher at a local primary school.

Mondrian was introduced to art from a very early age: his father was a qualified drawing teacher; and, with his uncle, Fritz Mondriaan (a pupil of Willem Maris of the Hague School of artists), the younger Piet often painted and drew along the river Gein.

After a strictly Protestant upbringing, in 1892, Mondrian entered the Academy for Fine Art in Amsterdam. He already was qualified as a teacher. He began his career as a teacher in primary education, but he also practiced painting. Most of his work from this period is naturalistic or Impressionistic, consisting largely of landscapes.

Piet Mondrian - The Red Tree, 1908/1910. 700 x 990mm. 
The Red Tree, one of the most important in Mondrian s series on the tree theme, was done in the same year as the Windmill in Sunlight. In its color range and brushwork, and above all in its conception of nature, it shows many points of contact with that other picture. Here too there seems to be a definite influence ofVincent van Gogh's work. The painting recalls certain of Vincent's pictures of trees, particularly olive trees and cypresses, in which the brushwork, along with the simplification of color, plays so important a part. But reference to these paintings is not by itself sufficient to explain the origin and character of The Red Tree.

These pastoral images of his native country depict windmills, fields, and rivers, initially in the Dutch Impressionist manner of the Hague School and then in a variety of styles and techniques documenting his search for a personal style. These paintings are most definitely representational, illustrating the influence various artistic movements had on Mondrian, including pointillismand the vivid colors of Fauvism.

On display in the Gemeentemuseum in the Hague are a number of paintings from this period, including such Post-Impressionist works as The Red Mill and Trees in Moonrise. Another painting, Evening (Avond) (1908), depicting a tree in a field at dusk, even augurs future developments by using a palette consisting almost entirely of red, yellow, and blue. Although it is in no sense Abstract, Avond is the earliest of Mondrian's works to emphasize the primary colors.

THE BEGINNINGS OF ABSTRACTION

The earliest paintings that show an inkling of the abstraction to come are a series of canvases from 1905 to 1908, which depict dim scenes of indistinct trees and houses with reflections in still water. Although the result leads the viewer to begin emphasizing the forms over the content, these paintings are still firmly rooted in nature; and it is only the knowledge of Mondrian's later achievements that leads one to search for the roots of his future abstraction in these works.

Mondrian's art always was intimately related to his spiritual and philosophical studies. In 1908, he became interested in the theosophical movement launched by Helena Petrovna Blavatsky in the late 19th century; and, in 1909, he joined the Dutch branch of the Theosophical Society.

The work of Blavatsky and a parallel spiritual movement, Rudolf Steiner's Anthroposophy, significantly affected the further development of his aesthetic. Blavatsky believed that it was possible to attain a more profound knowledge of nature than that provided by empirical means, and much of Mondrian's work for the rest of his life was inspired by his search for that spiritual knowledge.

Piet Mondrian - Victory Boogie Woogie, 1943/1944. 177.5 x 177.5 cm. 
A photograph from 1942 shows Mondrian laying out Victory Boogie Woogie in continuous, uniform lines that he presumably then divided to form a variety of planes. He believed that the painting was actually finished at a certain point but later felt dissatisfied with the result, and reworked the canvas with modifications that death prevented him from making permanent. The canvas was thus left with the colored tape provisionally added during the phase of rethinking.
The space is very dynamic (not least because of the lozenge format) — its dynamism the result of a virtually unlimited number of planes interacting with one another. The finite dimension of the planes appears to predominate, but their enormous number and variety tend to evoke an infinite space. The infinite space of the lines is now expressed through the finite space of the planes. Everything varies in this painting, as it does in Broadway Boogie Woogie, but we no longer see any process leading to a unitary synthesis. It is multiplicity that predominates here.
Victory Boogie Woogie appears to present an endless sequence of possible syntheses of yellow, red, and blue manifested in constantly varying forms.

LAST WORK

Mondrian and his later work were deeply influenced by the 1911 Moderne Kunstkring exhibition of Cubism in Amsterdam. His search for simplification is shown in two versions of Still Life with Ginger Pot (Stilleven met Gemberpot). The 1911 version is Cubist; in, the 1912 version, it is reduced to a round shape with triangles and rectangles.

Piet Mondrian - Self-Portrait, 1906

General Principals of Neo-Plasticism

I. General Principles of Neo-Plasticism

1. The plastic means must be the rectangular plane or prism in primary colors (red, blue, and yellow) and in noncolor (white, black, and gray). In architecture, empty space can be counted as noncolor, denaturalized material as color.

2. Equivalence in the dimension and color of the plastic means is necessary. Although varying in dimension and color, the plastic means will nevertheless have an equal value. Generally, equilibrium implies a large area of noncolor or empty space opposed to a comparatively small area of color or material.

3. Just as dual opposition is required in the plastic means, it is also required in the composition.

4. Constant equilibrium is achieved by the relationship of position and is expressed by the straight line (boundary of the pure plastic means) in its principal, perpendicular opposition.

5. Equilibrium that neutralizes and annihilates the plastic means is achieved through the relationships of proportion in which they are placed and which create vital rhythm.

6. Naturalistic repetition, symmetry, must be excluded.

II. Neo-Plasticism and Form

In nature, relationships are veiled by matter appearing as form, as color, or as natural-sound. This "morphoplastic" was unconsciously followed in the past by all the arts. Thus, in the past, art was "in-the-manner-of-nature."

For centuries painting plastically expressed relationships through natural form and color—until our time, when it is achieved by the plastic of pure relationships. For centuries painting was composed by means of natural form and color, until today, when the composition itself has become "plastic expression," "image."

III. Neo-Plasticism and Color

Despite its "interiorized" plastic expression, Neo-Plasticism is still "painting." Its means of expression is pure and determinate color, where the planes remain equivalent with the surface of the painting, that is, color remains plane within the plane. It is not weakened by following modulations of form; it is therefore stronger than in morphoplastic. Color finds its equivalent opposition in noncolor, that is white, black, and gray.

IV. Psychological and Social

Consequences of Neo-Plasticism
Equilibrium through equivalence of nature and mind, of what is individual and what is universal, of the female and the male—this general principle of Neo-Plasticism is not only applicable to the plastic but is also realizable in man and therefore in society. Equivalence between what pertains to matter and of what pertains to mind can create a harmony in society unknown until now.

By interiorization of what we know as matter and by exteriorization of what we know as mind—overly separated until now—matter-mind comes to unity. Neo-Plasticism demonstrates exact order. It demonstrates equity, for equivalence of the plastic means in the composition indicates that, furthering human evolution, art has demonstrated rights possessing the same value despite their differences. Equilibrium through contrary and neutralizing opposition annihilates individuals as particular personalities, and creates a future society as true unity.

[The unity underlying] natual appearance that art reveals signifies the greater clarity of human consciousness in our time — and confirms human evolution.

Piet Mondrian - Dune 2, 1909. 375 x 465 mm

Plastic Art and Pure Plastic Art - Part 1

Although art is fundamentally everywhere and always the same, nevertheless two main human inclinations, diametrically opposed to each other, appear in its many and varied expressions. One aims at the direct creation of universal beauty, the other at the aesthetic expression of oneself, in other words, of that which one thinks and experiences.

The first aims at representing reality objectively, the second subjectively. Thus we see in every work of figurative art the desire, objectively to represent beauty, solely through form and colour, in mutually balanced relations, and, at the same time, an attempt to express that which these forms, colours and relations arouse in us. This latter attempt must of necessity result in an individual expression which veils the pure representation of beauty.

Nevertheless, both the two opposing elements (universal—individual) are indispensable if the work is to arouse emotion. Art had to find the right solution. In spite of the dual nature of the creative inclinations, figurative art has produced a harmony through a certain co-ordination between objective and subjective expression.

For the spectator, however, who demands a pure representation of beauty, the individual expression is too predominant. For the artist the search for a unified expression through the balance of two opposites has been, and always will be, a continual struggle.

Throughout the history of culture, art has demonstrated that universal beauty does not arise from the particular character of the form, but from the dynamic rhythm of its inherent relationships, or in a composition from the mutual relations of forms.

Art has shown that it is a question of determining the relations. It has revealed that the forms exist only for the creation of relationships: that forms create relations and that relations create forms. In this duality of forms and their relations neither takes precedence.

The only problem in art is to achieve a balance between the subjective and the objective. But it is of the utmost importance that this problem should be solved, in the realm of plastic art technically, as it were and not in the realm of thought. The work of art must be "produced," "constructed."

One must create as objective as possible a representation of forms and relations. Such work can never be empty because the opposi-tion of its constructive elements and its execution arouse emotion.

If some have failed to take into account the inherent character of the form and have forgotten that untransformed form predominates, others have overlooked the fact that an individual expression cannot become a universal expression through figurative representation, which is based on our conception of feeling, be it classical, romantic, religious, surrealist. Art has shown that universal expression can only be created by a real equation of the universal and the individual.

Gradually art is purifying its plastic means and thus bringing out the relationships between them.

Thus, in our day two main tendencies appear: the one maintains the figuration, the other eliminates it. While the former employs more or less complicated and particular forms, the latter uses simple and neutral forms, or, ultimately, the free line and thepure colour. It is evident that the latter (non-figurative art) can more easily and thoroughly free itself from the domination of the subjective than can the figurative tendency; particular forms and colours (figurative art) are more easily exploited than neutral forms.

It is, however, necessary to point out that the definitions "figurative" and "non-figurative" are only approximate and relative. For every form, even every line, represents a figure, no form is absolutely neutral. Clearly, everything must be relative, but, since we need words to make our concepts understandable, we must keep to these terms.

Among the different forms we may consider those as being neutral which have neither the complexity nor the particularities possessed by the natural forms or abstract forms in general. We may call those neutral which do not evoke individual feelings or ideas. Geometrical forms, being so profound an abstraction of form, may be regarded as neutral; and on account of their tension and the purity of their outlines they may even be preferred to other neutral forms.

If, as a conception, non-figurative art has been created by the mutual interaction of the human duality, this art has been realized by the mutual interaction of constructive elements and their inherent relations.

This process consists in mutual purification; purified constructive elements set up pure relationships, and these in their turn demand pure constructive elements. Figurative art of today is the outcome of figurative art of the past, and non-figurative art is the outcome of the figurative art of today. Thus the unity of art is maintained.

If non-figurative art is born of figurative art, it is obvious that the two factors of human duality have not only changed, but have also approached one another towards a mutual balance, towards unity. One can rightly speak of an evolution in plastic art. It is of the greatest importance to note this fact, for it reveals the true way of art; the only path along which we can advance. Moreover, the evolution of the plastic arts shows that the dualism which has manifested itself in art is only relative and temporal. Both science and art are discovering and making us aware of the fact that time is a process of intensification, an evolution from the individual towards the universal, of the subjective towards the objective; towards the essence of things and of ourselves.

A careful observation of art since its origin shows that artistic expression seen from the outside is not a process of prolongment but of intensifying one and the same thing, universal beauty; and that seen from the inside it is a growth. Extension results in a continual repetition of nature; it is not human and art cannot follow it. So many o these repetitions which parade as "art" clearly cannot arouse emotions.

Through intensification one creates successively on more profound planes; extension remains always on the same plane. Intensification, be it noted, is diametrically opposed to extension; they are at right angles to each other as are length and depth. This fact shows clearly the temporal opposition of non-figurative and figurative art.

But if throughout its history art has meant a continuous and gradual change in the expression of one and the same thing, the opposition of the two trends in our time so clear-cut is actually an unreal one. It is illogical that the two principal tenden-cies in art, figurative and non-figurative (objective and subjective), should be so hostile. Since art is in essence universal, its expression cannot rest on a subjective view. Our human capacities do not allow of a perfectly objective view, but that does not imply that the plastic expression of art is based on subjective conception. Our subjectivity realizes but does not create the work.

If the two human inclinations already mentioned are apparent in a work of art, they have both collaborated in its realization, but it is evident that the work will clearly show which of the two has predominated. In general, owing to the complexity of forms and the vague expression of relations, the two creative inclinations will appear in the work in a confused manner.

Although in general there remains much confusion, today the two inclinations appear more clearly defined as two tendencies: figurative and non-figurative art. So-called non-figurative art often also creates a particular representation; figurative art, on the other hand, often neutralizes its forms to a considerable extent.

The fact that art which is really non-figurative is rare does not detract from its value; evolution is always the work of pioneers, and their followers are always small in number. This following is not a clique; it is the result of all the existing social forces; it is composed of all those who through innate or acquired capacity are ready to represent the existing degree of human evolution. At a time when so much attention is paid to the collective, to the "mass," it is necessary to note that evolution, ultimately, is never the expression of the mass.

The mass remains behind yet urges the pioneers to creation. For the pioneers, the social contact is indispensable, but not in order that they may know that what they are doing is necessary and useful, nor in order that "collective approval may help them to persevere and nourish them with living ideas."

This contact is necessary only in an indirect way; it acts especially as an obstacle which increases their determination. The pioneers create through the reaction to external stimuli. They are guided not by the mass but by that which they see and feel. They discover consciously or unconsciously the fundamental laws hidden in reality, and aim at realizing them. In this way they further human development.

They know that humanity is not served by making art comprehensible to everybody; to try this is to attempt the impossible. One serves mankind by enlightening it. Those who do not see will rebel, they will try to understand and will end up by "seeing." In art the search for a content which is collectively understandable is false; the content will always be individual. Religion, too, has been debased by that search.

Art is not made for anybody and is, at the same time, for everybody. It is a mistake to try to go too fast. The complexity of art is due to the fact that different degrees of its evolution are present at one and the same time. The present carries with it the past and the future. But we need not try to foresee the future; we need only take our place in the development of human culture, a development which has made non-figurative art supreme.

It has always been only one struggle, of only one real art: to create universal beauty. This points the way for both present and future. We need only continue and develop what already exists. The essential thing is that the fixed laws of the plastic arts must be realized. These have shown them-selves clearly in non-figurative art.

Today one is tired of the dogmas of the past, and of truths once accepted but successively jettisoned. One realizes more and more the relativity of everything, and therefore one tends to reject the idea of fixed laws, of a single truth. This is very understandable, but does not lead to profound vision. For there are "made" laws, "discovered" laws, but also laws a truth for all time. These are more or less hidden in the reality which surrounds us and do not change.

Not only science, but art also, shows us that reality, at first incomprehensible, gradually reveals itself, by the mutual relations that are inherent in things. Pure science and pure art, disinterested and free, can lead the advance in the recognition of the laws which are based on these relationships. A great scholar has recently said that pure science achieves practical results for humanity. Similarly, one can say that pure art, even though it appear abstract, can be of direct utility for life.

Art shows us that there are also constant truths concerning forms. Every form, every line has its own expression. This objective expression can be modified by our subjective view but it is no less true for that. Round is always round and square is always square. Simple though these facts are, they often appear to be forgotten in art. Many try to achieve one and the same end by different means. In plastic art this is an impossibility. In plastic art it is necessary to choose constructive means which are of one piece with that which one wants to express.

Art makes us realize that there are fixed laws which govern and point to the use of the constructive elements of the composition and of the inherent inter-relationships between them. These laws may be regarded as subsidiary laws to the fundamental law of equivalence which creates dynamic equilibrium and reveals the true content of reality.

Detail: Piet Mondrian - Victory Boogie Woogie, 1943/1944. 177.5 x 177.5 cm.

Plastic Art and Pure Plastic Art - Part 2

We live in a difficult but interesting epoch. After a secular culture, a turning point has arrived; this shows itself in all the branches of human activity. Limiting ourselves here to science and art, we notice that, just as in medicine some have discovered the natural laws relating to physical life, in art some have discovered the artistic laws relating to the plastic. In spite of all opposition, these facts have become movements. But confusion still reigns in them. Through science we are becoming more and more conscious of the fact that our physical state depends in great measure on what we eat, on the manner in which our food is arranged and on the physical exercise which we take. Through art we are becoming more and more conscious of the fact that the work depends in large measure on the constructive elements which we use and on the construction which we create. We will gradually realize that we have not hitherto paid sufficient attention to constructive physical elements in their relation to the human body, nor to the constructive plastic elements in their relation to art. That which we eat has deteriorated through a refinement of natural produce. To say this appears to invoke a return to a primitive natural state and to be in opposition to the exigencies of pure plastic art, which degenerates precisely through figurative trappings. But a return to pure natural nourishment does not mean a return to the state of primitive man; it means on the contrary that cultured man obeys the laws of nature discovered and applied by science.

Similarly in non-figurative art, to recognize and apply natural laws is not evidence of a retrograde step; the pure abstract expression of these laws proves that the exponent of non-figurative art associates himself with the most advanced progress and the most cultured minds, that he is an exponent of denaturalized nature, of civilization.

In life, sometimes the spirit has been over-emphasized at the expense of the body, sometimes one has been preoccupied with the body and neglected the spirit; similarly in art content and form have alternatively been over-emphasized or neglected because their inseparable unity has not been clearly realized.

To create this unity in art balance of the one and the other must be created.

It is an achievement of our time to have approached towards such balance in a field in which disequilibrium still reigns.

Disequilibrium means conflict, disorder. Conflict is also a part of life and of art, but it is not the whole of life or of universal beauty. Real life is the mutual interaction of two oppositions of the same value but of a different aspect and nature. Its plastic expression is universal beauty.

In spite of world disorder, instinct and intuition are carrying humanity to a real equilibrium, but how much misery has been and is still being caused by primitive animal instinct. How many errors have been and are being committed through vague and confused intuition? Art certainly shows this clearly. But art shows also that in the course of progress, intuition becomes more and more conscious and instinct more and more purified. Art and life illuminate each other more and more; they reveal more and more their laws according to which a real and living balance is created.

Intuition enlightens and so links up with pure thought. They together become an intelligence which is not simply of the brain, which does not calculate, but which feels and thinks. Which is creative both in art and in life. From this intelligence there must arise non-figurative art in which instinct no longer plays a dominating part. Those who do not understand this intelligence regard non-figurative art as a purely intellectual product.

Although all dogma, all preconceived ideas, must be harmful to art, the artist can nevertheless be guided and helped in his intuitive researches by reasoning apart from his work. If such reasoning can be useful to the artist and can accelerate his progress, it is indispensable that such reasoning should accompany the observations of the critics who talk about art and who wish to guide mankind. Such reasoning, however, cannot be individual, which it usually is; it cannot arise out of a body of knowledge outside plastic art. If one is not an artist oneself one must at least know the laws and culture of plastic art. If the public is to be well inn formed and if mankind is to progress it is essential that the contusion which is everywhere present should be removed. For enlightenment, a clear demonstration of the succession of artistic tendencies is necessary. Hitherto, a study of the different styles of plastic art in their progressive succession has been difficult since the expression of the essence of art has been veiled. In our time, which is reproached for not having style of its own, the content of art has become clear and the different tendencies reveal more clearly the progressive succession of artistic expressions. Non-figurative art brings to an end the ancient culture of art: at present, therefore, one can review and judge more surely the whole culture of art. We are not at the turning-point of this culture; the culture of particular form is approaching its end. The culture of determined relations has begun.

The culture of particular form is approaching its end. The culture of determined relations has begun.
It is not enough to explain the value of a work of art in itself; it is above all necessary to show the place which a work occupies on the scale of the evolution of plastic art. Thus in speaking of art, it is not permissible to say "this is how I see it" or "this is my idea." True art like true life takes a single road.
The laws which in the culture of art have become more and more determinate are the great hidden laws of nature which art establishes in its own fashion. It is necessary to stress the fact that these laws are more or less hidden behind the superficial aspect of nature. Abstract art is therefore opposed to a natural representation of things. But it is not opposed to nature as is generally thought. it is opposed to the raw primitive animal nature of man, but it is one with true human nature. It is opposed to the conventional laws created during the culture of the particular form but it is one with the laws of the culture of pure relationships.

First and foremost there is the fundamental law of dynamic equilibrium which is opposed to the static equilibrium necessitated by the particular form.

The important task of all art, then, is to destroy the static equilibrium by establishing a dynamic one. Non-figurative art demands an attempt of what is a consequence of this task, the destruction of particular form and the construction of a rhythm of mutual relations, of mutual forms of free lines. We must bear in mind, however, a distinction between these two forms of equilibrium in order to avoid confusion; for when we speak of equilibrium pure and simple we may be for, and at the same time against, a balance in the work of art. It is of the greatest importance to note the destructive-constructive quality of dynamic equilibrium. Then we shall understand that the equilibrium of which we speak in non-figurative art is not without movement of action but is on the contrary a continual movement. We then understand also the significance of the name "constructive art."

The fundamental law of dynamic equilibrium gives rise to a number of other laws which relate to the constructive elements and their relations. These laws determine the manner in which dynamic equilibrium is achieved. The relations of position and those of dimension both have their own laws. Since the relation of the rectangular position is constant, it will be applied whenever the work demands the expression of stability; to destroy this stability there is a law that relations of a changeable dimension-expression must be substituted. The fact that all the relations of position except the rectangular one lack that stability also creates a law which we must take into account if something is to be established in a determinate manner. Too often right and oblique angles are arbitrarily employed. All art expresses the rectangular relationship even though this may not be in a determinate manner; first by the height and width of the work and its constructive forms, then by the mutual relations of these forms. Through the clarity and simplicity of neutral forms, non-figurative art has made the rectangular relation more and more determinate, until, finally, it has established it through free lines which intersect and appear to form rectangles.

As regards the relations of dimension, they must be varied in order to avoid repetition. Although, as compared with the stable expression of the rectangular relationship, they belong to individual expression, it is precisely they that are most appropriate for the destruction of the static equilibrium of all form. By offering him a freedom of choice the relations of dimension present the artist with one of the most difficult problems. And the closer he approaches the ultimate consequence of his art the more difficult is his task.

Since the constructive elements and their mutual relations form an inseparable unity, the laws of the relations govern equally the constructive elements. These, however, have also their own laws. It is obvious that one cannot achieve the same expression through different forms. But it is often forgotten that varied forms or lines achieve—in form—altogether different degrees in the evolution of plastic art. Beginning with natural forms and ending with the most abstract forms, their expression becomes more profound. Gradually form and line gain in tension. For this reason the straight line is a stronger and more profound expression than the curve.

Beginning with natural forms and ending with the most abstract forms, their expression becomes more profound. Gradually form and line gain in tension. For this reason the straight line is a stronger and more profound expression than the curve.
In pure plastic art the significance of different forms and lines is very important; it is precisely this fact which makes it pure.

In order that art may be really abstract, in other words, that it should not represent relations with the natural aspect of things, the law of the denaturalization of matter is of fundamental importance. In painting, the primary color that is as pure as possible realizes this abstraction of natural color. But color is, in the present state of technique, also the best means for denaturalizing matter in the realm of abstract constructions in three dimensions; technical means are as a rule insufficient.

All art has achieved a certain measure of abstraction. This abstraction has become more and more accentuated until in pure plastic art not only a transformation of form but also of matter—be it through technical means or through color—a more or less neutral expression is attained.

According to our laws, it is a great mistake to believe that one is practicing non-figurative art by merely achieving neutral forms or free lines and determinate relations. For in composing these forms one runs the risk of a figurative creation, that is to say, one or more particular forms.

Non-figurative art is created by establishing a dynamic rhythm of determinate mutual relations which excludes the formation of any particular form. We note thus, that to destroy particular form is only to do more consistently what all art has done.

The dynamic rhythm which is essential in all art is also the essential element of a non-figurative work. In figurative art this rhythm is veiled.

Yet we all pay homage to clarity.

The fact that people generally prefer figurative art (which creates and finds its continuation in abstract art) can be explained by the dominating force of the individual inclination in human nature. From this inclination arises all the opposition to art which is purely abstract.

In this connection we note first the naturalistic conception and the descriptive or literary orientation: both a real danger to purely abstract art. From a purely plastic point of view, until non-figurative art, artistic expression has been naturalistic or descriptive. To have emotion aroused by pure plastic expression one must abstract from figuration and so become "neutral." But with the exception of some artistic expressions (such as Byzantine art) a there has not been the desire to employ neutral plastic means, which would have been much more logical than to become neutral oneself in contemplating a work of art. Let us note, however, that the spirit of the past was different from the spirit of our own day, and that it is only tradition which has carried the past into our own time. In past times when one lived in contact with nature and when man himself was more natural than he is today, abstraction from figuration in thought was easy; it was done unconsciously. But in our more or less denaturalized period, such abstraction becomes an effort.

However that may be, the fact that figuration is a factor which is unduly taken into account, and whose abstraction in the mind is only relative, proves that today even great artists regard figuration as indispensable. At the same time these artists are already abstracting from figuration to a much greater extent than has been done before. More and more, not only the uselessness of figuration, but also obstacles which it creates, will become obvious. In this search for clarity, non-figurative art develops.

There is, however, one tendency which cannot forego figuration without losing its descriptive character. That is surrealism. Since the predominance of individual thought is opposed to the purely plastic it is also opposed to non-figurative art. Born of a literary movement, its descriptive character demands figuration. However purified or deformed it may be, figuration veils pure plastics. There are, it is true, surrealist works whose plastic expression is very strong and of a kind that if the work is observed at a distance, i.e. it the figurative representation is abstracted from, they arouse emotion by form, color and their relations alone. But if the purpose was nothing but plastic expression, why then use figurative representation? Clearly, there must have been the intention to express something outside the realm of pure plastics. This of course is often the case even in abstract art. There, too, there is sometimes added to the abstract forms something particular, even without the use of figuration; through the color or through the execution, a particular idea or sentiment is expressed. There it is generally not the literary inclination but the naturalistic inclination which has been at work. It must be obvious that if one evokes in the spectator the sensation of, say, the sunlight or moon-light, of joy or sadness, or any other determinate sensation, one has not succeeded in establishing universal beauty, one is not purely abstract.

As for Surrealism, we must recognize that it deepens feeling and thought, but since this deepening is limited by individualism it cannot reach the foundation, the universal. So long as it remains in the realm of dreams, which are only a re-arrangement of the events of life, it cannot touch true reality. Through a different composition of the events of life, it may remove their ordinary course but it cannot purify them. Even the intention of freeing life from its conventions and from everything which is harmful to the true life can be found in surrealist literature. Non-figurative art is fully in agreement with this intention but it achieves its purpose; it frees its plastic means and its art from all particularity. The names, however, of these tendencies, arc only indications of their conceptions; it is the realization which matters. With the exception of non-figurative art, there seems to have been a lack of realization of the fact that it is possible to express oneself profoundly and humanely by the plastic alone, that is, by employing a neutral plastic means without the risk of falling into decoration or ornament. Yet all the world knows that even a single line can arouse emotion. But although one sees—and this is the artist's fault—few non-figurative works which live by virtue of their dynamic rhythm and their execution, figurative art is no better in this respect. In general, people have not realized that one can express our very essence through neutral constructive elements; that is to say, we can express the essence of art. The essence of art of course not often sought. As a rule, individualist human nature is so predominant that the expression of the essence of art through a rhythm of lines, colors and relationships appears insufficient. Recently, even a great artist has declared that "complete indifference to the subject leads to an incomplete form of art."

But everybody agrees that art is only a problem of the plastic. What good then is a subject? It is to he understood that one would need a subject to expound something named "Spiritual riches, human sentiments and thoughts." Obviously, all this is individual and needs particular forms. But at the root of these sentiments and thoughts there is one thought and one sentiment: these do not easily define themselves and have no need of analogous forms in which to express them-selves. It is here that neutral plastic means are demanded.

For pure art, then, the subject can never he an additional value; it is the line, the color and their relations which must "bring into play the whole sensual and intellectual register of the inner life" ... not the subject. Roth in abstract art and in naturalistic art color expresses itself "in accordance with the form by which it is determined," and in all art it is the artist's task to make forms and colors living and capable of arousing emotion. If he makes art into an "algebraic equation," that is no argument against the art, it only proves that he is not an artist.

If all art has demonstrated that to establish the force, tension and movement of the forms, and the intensity of the colors of reality, it is necessary that these should be purified and transformed; if all art has purified and transformed and is still purifying and transforming these forms of reality and their mutual relations; if all art is thus a continually deepening process: why then stop halfway? If all art aims at expressing universal beauty, why establish an individualist expression? Why then not continue the sublime work of the Cubists? That would not be a continuation of the same tendency, but on the contrary, a complete break-away from it and all that has existed before it. That would only be going along the same road that we have already travelled.

Since Cubist art is still fundamentally naturalistic, the break which pure plastic art has caused consists in becoming abstract instead of naturalistic in essence. While in cubism, from a naturalistic foundation, there sprang forcibly the use of plastic means, still half abstract, the abstract basis of pure plastic art must result in the use of purely abstract plastic means.

In removing completely from the work all objects, "the world is not separated from the spirit," but is on the contrary put into a balanced opposition with the spirit, since the one and the other are purified. This creates a perfect unity between the two opposites.

There are, however, many who imagine that they are too fond of life, particular reality, to be able to suppress figuration, and for that reason they still use in their work the object or figurative fragments which indicate its character. Nevertheless, one is well aware of the fact that in art one cannot hope to represent in the image things as they are, nor even as they manifest themselves in all their living brilliance. The Impressionists, Divisionists and Pointillistes have already recognized that.

There are some today who, recognizing the weakness and limitation of the image, attempt to create a work of art through the objects themselves, often by composing them in a more or less transformed manner. This clearly cannot lead to an expression of their content nor of their true character. One can more or less remove the conventional appearance of things (Surrealism), but they continue nevertheless to show their particular character and to arouse in us individual emotions.

To love things in reality is to love them profoundly; it is to see them as a microcosmos in the macrocosmos. Only in this way can one achieve a universal expression of reality. Precisely on account of its profound love for things, non-figurative art does not aim at rendering them in their particular appearance.

Precisely by its existence non-figurative art shows that "art" continues always on its true road. It shows that "art" is not the expression of the appearance of reality such as we see it, nor of the life which we live, but that it is the expression of true reality and true life . . . indefinable but realizable through the plastic.

"Art" is not the expression of the appearance of reality such as we see it, nor of the life which we live, but that it is the expression of true reality and true life.
Thus we must carefully distinguish between two kinds of reality; one which has an individual and one which has a universal appearance. In art the former is the expression of space determined by particular things or forms, the latter establishes expansion and limitation—the creative factors of space—through neutral forms, free lines and pure colors. While universal reality arises from determinate relations, particular reality shows only veiled relations.

The latter must obviously be confused in just that respect in which universal reality is bound to be clear. The one is free, the other is tied to individual life, be it personal or collective. Subjective reality and relatively objective reality: this is the contrast. Pure abstract art aims at creating the latter, figurative art the former.

It is astonishing, therefore, that one should reproach pure abstract art with not being "real," and that one should envisage it as "arising from particular ideas."

In spite of the existence of non-figurative art, one is talking about art today as if nothing determinate in relation to the new art existed. Many neglect the real non-figurative art, and looking only at the fumbling attempts and at the empty non-figurative works which today are appear-ing everywhere, ask themselves whether the time has not arrived "to integrate form and content" or "to unify thought and form."

But one should not blame non-figurative art for that which is only due to the ignorance of its very content. If the form is without content, without universal thought, it is the fault of the artist. Ignoring that fact, one imagines that figuration, subject, particular form, could add to the work that which the plastic itself is lacking. As regards the "content" of the work, we must note that our "attitude with regard to things, our organized individuality with its impulses, its actions, its reactions when in contact with reality, the lights and shades of our spirit," etc., certainly do modify the non-figurative work, but they do not constitute its content. We repeat that its content cannot be de-scribed, and that it is only through the purely plastic and through the execution of the work that it can be made apparent.

Through this indeterminable content, the non-figurative work is "fully human." Execution and technique play an important part in the aim of establishing a more or less objective vision which the essence of the non-figurative work demands. The less obvious the artist's hand the more objective will the work be.

This fact leads to a preference for a more or less mechanical execution or to the employment of materials produced by industry. Hitherto, of course, these materials have been imperfect from the point of view of art. If these materials and their colors were more perfect and if a technique existed by which the artist could easily cut them up in order to compose his work as he conceives it, an art more real and more objective in relation to life than painting would arise. All these reflections evoke questions which have already been asked many years ago, mainly: is art still necessary and useful for humanity? Is it not even harmful to its progress?

Certainly the art of the past is superfluous to the new spirit and harmful to its progress: just because of its beauty it holds many people back from the new conception. The new art is, however, still very necessary to life. In a clear manner it establishes the laws according to which a real balance is reached. More-over, it must create among us a profoundly human and rich beauty realized not only by the best qualities of the new architecture, but also by all that the constructive art in paint-ing and sculpture makes possible.

But although the new art is necessary, the mass is conservative. Hence these cinemas, these radios, these bad pictures which overwhelm the few works which are really of our era.

It is a great pity that those who are concerned with the social life in general do not realize the utility of pure abstract art. Wrongly influenced by the art of the past, the true essence of which escapes them, and of which they only see that which is superfluous, they make no effort to know pure abstract art. Through another conception of the word "abstract," they have a certain horror of it. They are vehemently opposed to abstract art because they regard it as some-thing ideal and unreal. In general they use art as propaganda for collective or personal ideas, thus as literature.

They are both in favor of the progress of the mass and against the progress of the elite, thus against the logical march of human evolution. Is it really to be believed that the evolution of the mass and that of the elite are incompatible? The elite rises from the mass; is it not therefore its highest expression?

To return to the execution of the work of art, let us note that it must contribute to a revelation of the subjective and objective factors in mutual balance. Guided by intuition, it is possible to attain this end. The execution is of the greatest importance in the work of art; it is through this, in large part, that intuition manifests itself and creates the essence of the work.

It is therefore a mistake to suppose that a non-figurative work comes out of the unconscious, which is a collection of individual and pre-natal memories. We repeat that it comes from pure intuition, which is at the basis of the subjective-objective dualism.

It is, however, wrong to think that the non-figurative artist finds impressions and emotions received from the outside useless, and regards it even as necessary to fight against them.

On the contrary, all that the non-figurative artist receives from the outside is not only useful but indispensable, because it arouses in him the desire to create that which he only vaguely feels and which he could never represent in a true manner without the contact with visible reality and with the life which surrounds him. It is precisely from this visible reality that he draws the objectivity which he needs in opposition to his personal subjectivity. It is precisely from this visible reality that he draws his means of expression: and, as regards the surrounding life, it is precisely this which has made his art non-figurative.

That which distinguishes him from the figurative artist is the fact that in his creations he frees himself from individual sentiments and from particular impressions which he receives from outside, and that he breaks loose from the domination of the individual inclination within him.

It is therefore equally wrong to think that the non-figurative artist creates through "the pure intention of his mechanical process," that he makes "calculated abstractions," and that he wishes to "suppress sentiment not only in himself but also in the spectator." It is a mistake to think that he retires completely into his system. That which is regarded as a system is nothing but constant obedience to the laws of the purely plastic, to necessity, which art demands from him.

It is thus clear that he has not become a mechanic, but that the progress of science, of technique, of machinery, of life as a whole, has only made him into a living machine, capable of realizing in a pure manner the essence of art. In this way, he is in his creation sufficiently neutral, that nothing of himself or outside of him can prevent him from establishing that which is universal. Certainly his art is art for art's sake . . . for the sake of the art which is form and content at one and the same time.

If all real art is "the sum total of emotions aroused by purely pictorial means," his art is the sum of the emotions aroused by plastic means.

It would be illogical to suppose that non-figurative art will remain stationary, for this art contains a culture of the use of new plastic means and their determinate relations. Because the field is new there is all the more to be done. What is certain is that no escape is possible for the non-figurative artist; he must stay within his field and march towards the consequence of his art.

This consequence brings us, in a future perhaps remote, towards the end of art as a thing separated from our surrounding environment, which is the actual plastic reality. But this end is at the same time a new beginning. Art will not only continue but will realize itself more and more. By the unification of architecture, sculpture and painting, a new plastic reality will be created.

Painting and sculpture will not manifest themselves as separate objects, nor as "mural art" which destroys architecture itself, nor as "applied" art, but being purely constructive will aid the creation of a surrounding not merely utilitarian or rational but also pure and complete in its beauty.

The New Art--the New Life: The Collected Writings Of Piet Mondrian (Documents of Twentieth-Century Art)https://www.amazon.com/The-New-Art-Life-Twentieth-Century/dp/0306805081

Courtesy Trivium Art History

https://www.mondriaan.nl/

 Piet Mondrian - Master of Modern Art; Music by Philip Glass from "Glassworks" Track 6 - Closing (Instrumental)

Piet Mondrian & Music...

 Art historian Kermit Swiler Champa talks about Piet Mondrian's interest in dancing and the boogie-woogie, and considers the influence of contemporary dance on his paintings. Learn more about Mondrian athttps://www.sfmoma.org/multimedia/inte...

The Sound of Piet Mondrian playlist...

Get a feel for the ’boogie-woogie’ beat of Mondrian’s paintings with our playlist of songsselected straight from the artist’s record collection by Emma Palmer, Tate Liverpool’s Marketing Assistant.

Mondrian and his Studios TATE. https://www.tate.org.uk/context-co…/…/tateshots-piet-mondrian

Music is so often noted as a source of inspiration for artists and for Piet Mondrianhttps://www.tate.org.uk/art/artists/piet-mondrian-1651 jazz, particularly Boogie-Woogie, was a key influence on the development of his highly recognisable style.
On the opening weekend of Tate Liverpool’s summer exhibition Mondrian and his Studios, the Royal Liverpool Philharmonic Orchestra’s Ensemble 10/10https://www.liverpoolphil.com/ played a selection of Music for Mondrianhttps://www.tate.org.uk/…/tate-…/special-event/music-mondrian . If you missed the performances, fear not, we have compiled our own playlist from Mondrian’s record collection for you. https://play.spotify.com/…/tate_gallery/playlist/2nkOENcd5j…

Mondrian and his Studios focuses on the relationship between his work and the space around them. It was in his studios that Mondrian would listen to the movers and shakers of the jazz world on his gramophone, including the likes of Roger Wolfe Kahn, Louis Armstrong and Ethel Waters.

The influence of jazz on Mondrian’s style is often cited to be at its peak in his transatlantic works – paintings commenced in Paris, which were brought to London and then completed in New York – examples of which are on display at Tate Liverpool. His fascination with rhythm and duration was directly referenced in his musical taste and it was of this later work that Mondrian famously commented that he’d given it more ‘boogie-woogie’.

By adding more lines to his paintings, with colour no longer totally bound by the black grids, Mondrian was making them more rhythmically intense allowing the colour to ‘jazz up’ the paintings. Our exhibition highlights how jazz influenced the artist’s work; from archival images of Mondrian posed beside his beloved gramophone to record sleeves from his New York studio.

Hear our Mondrian playlist

1. I Got Rhythm, Ethel Waters https://www.youtube.com/watch?v=n85lS6l7adg

2. Baby Face, Ben Selvin & His Orchestra https://www.youtube.com/watch?v=NoBkX51le4I

3. Charleston, The California Ramblers https://www.youtube.com/watch?v=2qb4hs61Mf8

4. Ostrich Walk, Frank Trumbauer & His Orchestra https://www.youtube.com/watch?v=EQsP-oe1dfM

5. Indiana, The Chicagoans, Eddie Condon Quartet https://www.youtube.com/watch?v=9DUcWOnMUeY

6. The Breakaway, Dorsey Brothers Orchestra https://www.youtube.com/watch?v=u9pEjcjb5_o

7. Chatter Box, Duke Ellington, His Famous Orchestra https://www.youtube.com/watch?v=evaYGHA09Sk

8. When You’re Smiling, Louis Armstrong https://www.youtube.com/watch?v=bOH_mioL3TU

9. Crazy Rhythm, Roger Wolfe Kahn https://www.youtube.com/watch?v=v_jxPUshgRc

Photo: Mondrian and his Studios TATE. https://www.tate.org.uk/context-co…/…/tateshots-piet-mondrian

https://www.youtube.com/watch?v=dhv3_nGfETw

Courtesy TATE.