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By Italo Tomassoni
Piet Mondrian performed a big position within the improvement of summary paintings in the course of the first 1/2 the twentieth century. because the relocating spirit of De Stijl, the main austere of all abstractionist hobbies, Mondrian constructed and conducted his concept of paintings virtually in isolation he owed little to the other artist or university of portray. The natural geometrical works of his mature variety, frequently composed fullyyt of squares of bright reds and yellows rigorously balanced with parts of white and intersected through vertical or horizontal strains, are the direct expression of his trust in an paintings free of subjectivity—an paintings that used to be the expression of a common unchangeable fact.
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His fundamental concern was to liberate form from any particular definition; to purify vision from the contingent, and so to isolate the object from the instability of phenomena by assigning it to a higher order. Mondrian passed from the figurative to the totally abstract without going through the intermediate non-figurative phase, and for him, the hidden links between objects which the Cubists discovered in their analytical phase (the concept of duration in the simultaneity of vision which also occupied the Futurists and was derived from Bergson), were only an initial and relative stage in the more complex and more organic search for a universal order in the world.
The Nieuwe Beelding 20 Church Facade c. 1914, ink 24I x 19^ in (63 x 50 cm) Slijper collection, Blaricum 21 Oval Composition , Tableau III on canvas 1914, oil 45 x 394 in (140 x 101 cm) Museum, Amsterdam Stedelijk with an asymmetrical universe and a two-dimensional space as environment of contemporary man. This space was distributed, divided and strictly planned to an order which was no longer naturalistic, resolving in this way all conflict between art and life in a higher equilibrium. 'Balance through the equivalence of nature and mind, of that which is individual and that which is universal, of the feminine and the masculine - this general principle of Neoplasticism can be achieved not only in plastic art, but also in man and in society.
Abstract representation of relations manifests this primordial relation by the duality of position, in rectangular opposition. This relation of position is the most equilibrated, as it expresses the relation of one harmony, comprising all other relations. ' This pure spatiality work of art in an act which and 24 Composition with Colour Planes 1 91 7, oil on canvas 1 8| x 24 in (48 x 61 cm) is in absolute to see these purifies. know, 'Everything has to understand, is is moral a cause, happiness,' as as aesthetic, is objectified in which sublimates but we do not always recognise it.