This piece was erected out of the de Stijl style movement, “one of the major modern movements.”[2] This movement was based off of a Neo-Plastic ideology of art, which Mondrian was extremely influential in the development and exploration of this philosophy. Neo-Plasticism pursued the goal to create new pictorial rhythms through a novel plastic representation of space. Mondrian believed that the “success of a Neo-Plastic painting depends on the inspired intuition of the maker.”[3] This style can be thought of as a somewhat transitional style out of Cubism and into a full-fledged exploration and engagement of de Stijl. De Stijl was not a group of similar artists or stylistic techniques, nor was it a school devoted to art or design, but rather de Stijl was a “collective project or enterprise between 1917 and 1928.”[4] This idea of the collective project can simply be thought of as artist coming together and exploring new ideas in art, literature, architecture, and many other facets while conversing between each other over their work and their colleagues. Even though this was not an established group, the artists associated with this period knew of each other’s works and produced pieces that were stylistically and contextually reminiscent of each other throughout the movement.[5] The basic principles that the de Stijl movement promoted were a “stripping down of the traditional forms…into simple ‘basic’ geometric components or ‘elements’; the composition from these separate ‘elements’ of formal configurations which are perceived as ‘wholes’, while remaining clearly constructed from individual and independent elements; studied and sometimes extreme asymmetry of composition or design; and an exclusive use of intersecting horizontal and vertical lines along with the ‘pigment primary’ colors, plus ‘neutral’ colors or tones.”[6] The artists involved with this movement were profoundly engrossed with novel and progressive ideas about the relationship between the “production and consumption of art and design” and the impact or influence on modern society and social life.[7] The subject matter of these paintings were not the traditional figures, landscapes, and scenes, as had been previously represented by other painters and artists. Instead the de Stijl movement focused on subject matter that was concerned with geometry and form.
This piece was erected out of the de Stijl style movement, “one of the major modern movements.”[2] This movement was based off of a Neo-Plastic ideology of art, which Mondrian was extremely influential in the development and exploration of this philosophy. Neo-Plasticism pursued the goal to create new pictorial rhythms through a novel plastic representation of space. Mondrian believed that the “success of a Neo-Plastic painting depends on the inspired intuition of the maker.”[3] This style can be thought of as a somewhat transitional style out of Cubism and into a full-fledged exploration and engagement of de Stijl. De Stijl was not a group of similar artists or stylistic techniques, nor was it a school devoted to art or design, but rather de Stijl was a “collective project or enterprise between 1917 and 1928.”[4] This idea of the collective project can simply be thought of as artist coming together and exploring new ideas in art, literature, architecture, and many other facets while conversing between each other over their work and their colleagues. Even though this was not an established group, the artists associated with this period knew of each other’s works and produced pieces that were stylistically and contextually reminiscent of each other throughout the movement.[5] The basic principles that the de Stijl movement promoted were a “stripping down of the traditional forms…into simple ‘basic’ geometric components or ‘elements’; the composition from these separate ‘elements’ of formal configurations which are perceived as ‘wholes’, while remaining clearly constructed from individual and independent elements; studied and sometimes extreme asymmetry of composition or design; and an exclusive use of intersecting horizontal and vertical lines along with the ‘pigment primary’ colors, plus ‘neutral’ colors or tones.”[6] The artists involved with this movement were profoundly engrossed with novel and progressive ideas about the relationship between the “production and consumption of art and design” and the impact or influence on modern society and social life.[7] The subject matter of these paintings were not the traditional figures, landscapes, and scenes, as had been previously represented by other painters and artists. Instead the de Stijl movement focused on subject matter that was concerned with geometry and form.
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