(Amesfoort, Países Bajos, 1872-New York, 1944) Dutch painter. By educación y Trayectoria vital sus primeras works participaron de la Tradicion paisajista y su interés Dutch by luminous los efectos. In 1907, knowledge of the work of post-impressionist painters completely changed their old notions about color, and its treatment thereafter addressed much more boldly.
After looking at the early Cubist works of Picasso and Braque, in 1912 decided to move to Paris and adapting the precepts of Cubism, interested in reducing the individual forms a general formula. Although his work artistically respected the principles of Cubism, since 1913 saw a clear move towards abstraction, culminating in 1917 with the permanent abandonment of the external reference.
World War I made him return to the Netherlands, where he met Theo van Doesburg. With him and two other artists (Van der Leck and Huszar), founded the magazine and movement of Stjil, from which advocated the complete rejection of the surrounding reality as a reference for the work and the reduction of the pictorial language to its basic elements. This style, called by Mondrian and Neo himself, sought to achieve real objectivity releasing the work of art from its dependence on the momentary individual perception and temperament of the artist. De Stijl
The magazine, which will be released in 1917 with a programmatic name, De Stijl (The Style) will name the group of artists who gathered around them and their pages collect the first important theoretical work of Mondrian, the new plastic. That same year, begins the process of formal simplification that by 1920, will take you to the property line screen frame orthogonal rectangles of primary colors. Return to Paris in 1919 and achieve its business as a painter of flowers to survive. Despite the economic dificualtades, his work began to be valued, and in 1922, to mark the fiftieth anniversary of the artist, their friends organized a retrospective Exhibition of Amsterdam. Three years later. the break with Van Doesbrug following the adoption by it of the line diagonal as Mondrian called elementarism and considered as a betrayal of his aesthetic principles.
EXILE
In the second half of the decade was the consolidation of the fame of the painter, was invited to participate in numerous exhibitions, including the group "Cercle et Carré" and "Abstraction et Création" of those who took part. In parallel to the plastic work, Mondrian will expose their ideas in theoretical essays, like The Art and Life, published in 1930, Plastic Arts and Pure Plastic Art, 1937.
The imminence of war makes new move to England in 1938, where he only stayed for two years as in 1940, after suffering heavy bombing London, the artist leaves for New York. This city will be the catalyst for change, his paintings had begun to experiment in the previous decade in subtle but noticeable, and that is reflected in two key works Broadway Boogie-Woogie and Victory Boogie-Woogie. The latter would be inconclusive, since pneumonia ended his life in early 1944. The major posthumous retrospective by the Museum of Modern Art in New York next year devotes underlines the Mondrian exerted great influence on all contemporary art.
Internet
Information from Piet Mondrian (1872-1944). DG
by Paola Fraticola
Summaries of notes compiled from various authors. Biographies and
vidas.com
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