Piet Mondrian

An informal written response to the painting  of Gordon Walters, inspired in particular by his work 'The Poet' - which purportedly, he almost scrapped. This paper was submitted as an assignment for 'Art and Place', taught at Victoria University of Wellington by Christina Barton, Director of the Adam Art Gallery who still teaches at Victoria University.

I have mostly uploaded this for my own benefit, so that it will be easier to go back and edit with a fine-toothed comb.

We trained generative models and decision tree classifiers with positive and negative examples of the neo-plastic works of Piet Mondrian to infer his compositional principles, to generate “faux ” works, and to explore the possibility of computer-based aids in authentication and attribution studies. Unlike previous computer work on this and other artists, we used “earlier state ” works—intermediate versions of works created by Mondrian revealed through x-radiography and infra-red reflectography—when training our classifiers. Such intermediate state works provide a great deal of information to a classifier as they differ only slightly from the final works. We used methods from machine learning such as leave-one-out cross validation. Our decision tree classifier had accuracy of roughly 70 % in recognizing the genuine works of Mondrian versus computer-generated replicas with similar statistical properties. Our trained classifier reveals implicit compositional principles underlying Mondr...

«Questa edizione inglese del 1847 degli "Elementi" di Euclide è geometria che si fa poesia, è l'ottava meraviglia» (Corriere della sera). Breve estratto da: W. Oechslin, "The First Six Books of the Elements of Euclid, didaktisch, farbig und exzentrisch", trad. it. di Hagar Spano, in O. Byrne, "The First Six Books of the Elements of Euclid", ed. italiana, spagnola e portoghese, Taschen, Köln 2013.

The dominant narratives of modern art history tell of a rift between art and “religion” by which the two became adversaries, even mutually unintelligible to each other. In their recent book, Modern Art and the Life of a Culture: The Religious Impulses of Modernism (IVP Academic, 2016), Jonathan Anderson (an art critic) and William Dyrness (a theologian) offer a rereading of these histories by paying closer attention to the religious contexts and the theological concerns that shaped its development—contexts and concerns that have been largely neglected by both scholars and laypeople alike. This rereading produces revised accounts of several of the most important modernist artists—including Vincent van Gogh, Vasily Kandinsky, Hugo Ball, Kazimir Malevich, John Cage, Andy Warhol, and many others—while also challenging the tendency among Christians to follow the declinist narrative of Hans Rookmaaker’s influential book, Modern Art and the Death of a Culture (1970). In the end, Anderson and Dyrness argue that the history of modern art is much more (theologically) interesting than it has yet been given credit for.

https://www.ivpress.com/modern-art-and-the-life-of-a-culture

Introduction 3-5 I. Dialoguer avec les artistes 3-4 1. Cultiver « l'art de vivre pour l'art ». 4-5 2. Yves Saint Laurent, un artiste ? 6-8 II. Dialoguer avec les institutions 6-7 1. Une nouvelle manière d'exposer la mode 7-8 2. Prendre position : la critique du marché de l'art 9 Conclusion 10 Sources documentaires 11-14 Annexe iconographique sur 1 14

In The Mangle of Practice (1995) I argued for a specific ontological vision of the world and of our place in it, a vision in which both the human and the nonhuman are recognised as open-endedly becoming—taking on emergent forms in an intrinsically temporal ‘dance of agency.’ Here I seek to enrich and extend that vision, beginning from some different places. I first discuss the paintings of Piet Mondrian and Willem de Kooning as exemplars or icons of, respectively, a Modern dualist ontology and a non-Modern mangle-ish ontology. Echoing Martin Heidegger, I argue that the Mondrianesque stance (1) is associated with projects of domination and (2) veils our true, de Kooning-like, ontological condition from us. My second example concerns the struggles of the US Army Corps of Engin...

Une histoire globale des avant-gardes picturales se doit d’expliquer pourquoi celles-ci apparurent en certains endroits et pas en d’autres, comment elles circulaient entre les pays et les capitales, ce qui les portait et si elles rompaient réellement avec leur temps, sachant que la plupart finirent par connaître une véritable canonisation.
Les avant-gardes lièrent leur sort au développement des journaux et des revues, c’est-à-dire à celui des techniques d’impression et de reproduction en série. Elles profitèrent également d’un vaste mouvement de circulation des idées, des hommes et des objets avec le développement des réseaux ferrés et des transports maritimes.
Dans le même temps se forgeaient les identités nationales, férues de tradition et de préservation des cultures. L’approche géopolitique met au jour ce processus par lequel les plasticiens novateurs recoururent à la référence étrangère pour s’opposer aux institutions nationales, travaillèrent à internationaliser leurs réputations pour mieux s’imposer contre le refus de l’innovation porté par le nationalisme, ou, au contraire, se laisser récupérer par des partis nationalistes et révolutionnaires.
Mais à côté des stratégies, réseaux et marchés, place est faite à l’analyse du contexte culturel et moral, économique et politique, matériel et social, affectif et spirituel des artistes des avant-gardes à partir de 1848. Jusqu’à la rupture de 1920, quand ces avant-gardes deviennent politiques, plaçant l’avenir de l’art dans celui de la Révolution.

This essay was first published in the catalogue accompanying the Mark Rothko exhibition held at the Gemeentemuseum Den Haag, The Hague, The Netherlands, in 2014/2015, explaining the curatorial concept of the show. It starts with a, curatorially speaking, most intriguing question: How come that the work of an abstract painter like Mark Rothko is able to draw a large public, as it always does? It offers alternative approaches for answers to that question in chapters entitled ‘On meaning in abstract art’, ‘Painting as philosophy’, ‘Rothko vs Mondrian’ (the Gemeentemuseum Den  Haag owns the world-largest Mondrian collection and  in one gallery of the  exhibition, works  by Mondrian were juxtaposed with works by Rothko), ‘Nietzsche’, ‘Romantics’, ‘Rothko in a northern light’, ‘Art as sacred location’.

El artículo aborda la relación entre Le Corbusier y Alfred Roth, colaborador en el despacho parisino entre 1927 y 1928, y la influencia que este periodo tuvo en un tema trascendente en la trayectoria de Roth desde entonces, al igual que en la obra posterior de Le Corbusier: el empleo del color en la arquitectura. El texto argumenta que la figura de Roth fue importante en el giro que la obra de Le Corbusier tomó hacia una mayor adopción de la gama de colores primarios y la estética neoplasticista, debido a la amistad existente entre Roth y Mondrian.

This article discusses the relationship between Le Corbusier and Alfred Roth, a member of the Paris office between 1927 and 1928. It also deals with the influence that this period had with reference to an important factor in Roth’s professional development, as in Le Corbusier’s later works: the use of colour in his architecture. This article takes the position that Roth, given his close friendship with Mondrian, was an important figure in turning Le Corbusier’s work towards greater use of primary colours and aesthetic neoplasticism.

This essay confronts two different types of landscape representation: the classically composed landscape with lateral boundaries on the one hand and the laterally unlimited landscape on the other. The examples range from Campagnola, Carracci and Lorrain on the one hand and Seegers, Rembrandt and Friedrich to Hodler and Mondrian on the other.

This is an analysis of Mondrian's Broadway Boogie-Woogie following Maritains theory of Art and Aesthetics in his book Creative Intuition. This paper analyzes the birth of this piece of art starting from the very moment of conception in the pre-conscious of Mondrian's art work untill the sharing of the "I" of the viewer

This article explores the close personal and professional relationships between the Austrian-American designer, artist, and architect, Frederick Kiesler; and designer, theorist, and co-founder of the De Stijl movement, Theo van Doesburg. It demonstrates that Kiesler's work and ideas were strongly influenced by Theo van Doesburg's work, his writings, and theories. Personal correspondence between the two men are documented, as well as between van Doesburg and Kiesler's wife, Steffi Kiesler. Over the course of his long career in the arts and design, Kiesler promoted Van Doesburg and De Stijl ideas to an American audience long after van Doesburg's untimely death in the early 1930s. Van Doesburg's theories and his rejection of functionalism were a touchstone to which Kiesler returned again and again in his architectural work and ideas. The article shows that via Kiesler, De Stijl continued to have an influence on US architectural discourse through the 1950s.

Mel Gooding faz uma análise resumida porém eficaz da arte abstrata. Dou ênfase ao primeiro capítulo de seu livro "Arte Abstrata" (Capítulo: "A Abstração e o Invisível"). Neste irá abordar os principais e primeiros artistas a praticar a pintura abstrata; que se assemelham num pensamento metafísico e espiritual.

Pour qui entreprend une histoire transnationale des avant-gardes picturales au XXe siècle, la période que couvre ce deuxième tome, de 1918 à 1945, est la plus périlleuse. Car l'auteur doit se colleter avec le grand récit dicté par les avant-gardes elles-mêmes. Tout commence-t-il avec Dada? Dès 1910 s'observait la remise en cause symbolique de Paris par les nouvelles générations dans de nouveaux centres : Berlin, Munich, Londres, Bruxelles, Cologne, Moscou, New York. Dada, certes né dans les charniers de la guerre, fut plus encore issu de l'histoire de la modernité artistique et littéraire depuis les années 1850. Les avant-gardes furent-elles idéologiquement progressistes? Les acteurs ne cessèrent de négocier entre les logiques révolutionnaires, leurs ambitions nationales et celle de continuer tant bien que mal à se faire connaître sur la scène internationale. Loin que Paris fût la capitale unique, d'une ville à l'autre, et en particulier à Berlin, Prague, Budapest, Vienne, Moscou, mais aussi à Amsterdam, Bucarest, Zagreb, Barcelone et jusqu'à São Paulo, Mexico et au Japon, apparurent régulièrement de nouveaux groupes décidés à se faire une place dans le courant du modernisme. En revanche, l'entre-deux-guerres fut une période de marchandisation aboutie de l'innovation artistique. Dans les pratiques et les débats des avant-gardes, une problématique était récurrente : quelle place faire au marché, surtout en cas de succès?

Simples abordagem ao percurso artistico de Mondrian e à obra "Tableau with Yellow, Black, Blue and Grey", inserida no seu estilo - o Neo-Plasticismo. Texto desenvolvido durante o 1º Semestre do 3º Ano do curso de Arte Multimédia na Faculdade de Belas Artes de Lisboa

Du théâtre, et de l'abstraction (Texte publié in : Théâtre et art plastiques, entre chiasmes et confluences, Presses Universitaires de Valenciennes, 2002.) La question, qu'il faudrait dire cruciale pour notre temps, parce qu'elle est celle de la mise en scène et donc de la mise en société (hors-scène), est la suivante : est-il nécessaire que la victime soit en scène pour que la jouissance soit intense? Jean-François LYOTARD 1 La question de l'abstraction, qui surgit dès qu'on interroge les relations du théâtre et des arts plastiques au 20 e siècle, est l'une des plus piégées qui soient. Parce qu'elle prend appui sur des modèles contradictoires, insuffisamment analysés sans doute, et qui mettent en jeu la définition même qu'on assigne à l'art du théâtre, en même temps que l'horizon qu'on découvre pour ses utopies. Se souvient-on par exemple de ce qu'Eugène Ionesco, dans un article de 1958 2 , comparait les toiles de Paul Klee, de Vassily Kandinsky, de Piet Mondrian, à la recherche d'un langage théâtral purifié, réduit à l'ossature du geste et de la parole, tel qu'il l'explorait dans sa propre écriture dramatique ? Qu'Alfred Jarry, dès 1896, évoquait la possibilité d'un « décor abstrait » et, à défaut de pouvoir réaliser celui-ci, considérait comme ses substituts les plus approchants soit « le décor par celui qui ne sait pas peindre 3 », soit n'importe quel châssis retourné ? Ces deux exemples suffisent à montrer combien les définitions que l'on donne de l'abstraction au théâtre peuvent être éloignées, voire difficilement compatibles. J'ajouterai, pour ma part, que le travail de la déliaison narrative dans l'écriture théâtrale contemporaine, comme celui de la dissociation du couple acteur / personnage dans la mise en scène, pourraient aussi, et à bon droit, être décrits comme autant de processus d'abstraction : à travers eux, en effet, s'opère un retrait de la mimésis, un renoncement à l'iconicité de l'image scénique, qui ouvre la même béance entre la scène et le monde que celle creusée par l'abandon de la figuration dans la peinture des années 1910. Ce n'est donc pas l'ensemble des questionnements soulevés par l'application dans le champ théâtral du mot (par ailleurs fragile, et controversé) d'« abstraction » que je me propose d'examiner ici, mais seulement les modèles mis en oeuvre par les peintres eux-mêmes pour imaginer l'application sur la scène de leur recherche d'une création plastique non figurative. A travers ces modèles, en effet, c'est une pensée du corps et de l'espace qui se trouve mise en jeu, et je poserai comme hypothèse que cette pensée, loin de constituer un phénomène marginal, trouve ses prolongements dans l'histoire des poétiques scéniques du 20 e siècle. Avant de commencer, j'évoquerai une dernière difficulté, qui naît d'un paradoxe. Il n'est pas indifférent que le développement de pratiques plastiques dites « abstraites », au long de ce siècle, s'accompagne justement du refus de tout ce qui, de près ou de loin, pourrait être assimilé à une forme de « théâtralité ». Ainsi Clement Greenberg, dans une conférence prononcée en 1954, at -il recours à la métaphore d'une scène qui se refermerait pour décrire le mouvement qui conduit de l'art figuratif à l'art abstrait : De Giotto à Courbet, la principale tâche du peintre a consisté à creuser sur une surface plane l'illusion d'un espace tridimensionnel. On regardait à travers cette surface comme on regarde la scène par-delà le proscenium. Le modernisme a progressivement rétréci cette scène jusqu'à ce que l'arrière-plan se confonde maintenant avec le rideau-rideau qui est tout ce qu'il reste au peintre pour travailler. 4 De même Michael Fried, critiquant en 1967 ce qu'il considère être les contradictions du mouvement minimaliste américain (en particulier les quelques traces d'anthropomorphisme qui subsistent dans les volumes géométriques de Robert Morris et Tony Smith), construit-il son argumentation sur le fait que « le théâtre est maintenant la négation de l'art », de sorte que « le succès, voire la survie des arts dépend de plus en plus de leur capacité à mettre en échec le théâtre 5 ». L'émergence et la radicalisation d'un art abstrait au 20 e siècle peuvent donc être décrites, sinon comme une guerre entre le théâtre et la peinture moderniste ainsi que l'affirme Fried, du moins comme autant d'étapes dans un processus de déthéâtralisation des pratiques plastiques. Le paradoxe que j'évoquais à l'instant serait alors celui-ci :

In this essay the focus is on Mondrian’s use of the term ‘rhythm’ in his writings. Among other neoplastic terms, "rhythm" is problematic and occasionally ‘confusing’ because Mondrian’s concept of rhythm is at odds with ordinary understandings of what the term usually means. However, it is worth considering because the term works in both a conceptual and empirical sense in Mondrian's philosophical thinking. It manifests in his painting, appears countless times in his essays — at times as "rhythm" and at others according to its variations (for example, as the famous “dynamic equilibrium”). Moreover, "rhythm" is a major proponent for understanding Mondrian's works of his neoplastic period (1917-1944).  The task of this essay, then, is in part to establish what it is that makes Mondrian’s thinking unique, as well as to clarify the fundamental themes behind the development of his art and his thought, and to demonstrate the relationship between such themes: that is, to situate Mondrian’s philosophy in an art-historical context that enables his work on the theory of rhythm and its realisation on canvas to be better understood.

La deificación de la materia, lo que alcanza a percibir físicamente el ojo humano, objetivamente, es lo que obtuvo reconocimiento por siglos hasta que la abstracción geométrica en el arte, introducida a principios del siglo XX por Piet Mondrian y el movimiento De Stijl, produjo una revolución estética y teológica que restituyó el lugar del alma y la espiritualidad en las artes visuales.
Según el crítico de arte, Juan Carlos Flores Zúñiga, en su primera entrega del 2021 para Ars Kriterion E-Zine, sobre la exhibición de Mondrian y De Stijl que realiza el Museo Reina Sofía en Madrid, España, afirma que esta revolución no solo produjo un arte más puro y espiritual, no objetivo, sino que demostró que la emoción, no solo el intelecto, podían comunicarse en un plano no representacional.

A quasi-panic underlies Guttuso’s Boogie Woogie in Rome his single envoi to 1954 Venice Biennale. It depicts teenagers dancing frenetically in front of Mondrian’s eponymous painting, its kinetic, neoplasticist language absorbed into their plaid clothes. This essay will show how this painting pulled into its orbit much of the geopolitics of the 1950s. Guttuso’s depiction of gyrating youths drew its—mostly negative—energy from events taking place just beyond its frame. It identifies afterimages (Guttuso’s painting elicited other paintings); medial crossovers as well as medial denials (namely film, a medium Guttuso professed to abhor); anticipations thwarted by reversed scenarios (the fiasco of the Soviets and the success of Mondrian in the next edition of the Biennale in 1956); and blind spots (nations with no pavilion). Its leitmotif is plaid as a multifarious sign for youthful rebellion, nonchalant bohemianism, lumberjacks and hillbilly folk, solidarity with the working class, and modish sophistication.

Mondrians klassischer Stil, der „Neoplastizismus“, ist gekennzeichnet durch eine analytische Reduktion der Farbigkeit auf die drei Primärfarben Rot, Gelb und Blau sowie die Nichtfarben Schwarz, Grau und Weiß, und damit scheint alles gesagt zu sein über die Bedeutung von Farbe im Werk des Pioniers der abstrakten Malerei, weshalb die Mondrian Forschung diesem Aspekt kaum Aufmerksamkeit geschenkt hat. Erstmals stellte die Ausstellung Mondrian.Farbe des Bucerius Kunst Forums im Jahre 2014 diesen Aspekt zentral. Aufbauend auf einer Geschichte der Wechselwirkungen zwischen naturwissenschaftlicher und künstlerischer Farbtheorie diskutiert dieser Aufsatz die Wirklichkeit von Primärfarben um den Wirklichkeitsgehalt und die Bedeutung abstrakter Kunst am Beispiel von Mondrian zu demonstrieren.

This study develops a utopia, named distopia, positioned as a utopia of dissidence and cultural pluralism, also described as difference. The term distopia is a neologism formulated to invoke productive elements of utopia (such as a vision for an improved sociocultural sphere), with aspects of dystopia (namely, scepticism regarding the prevalent), whilst evading the potential naiveté of utopia as well as the hopeless resignation that dystopia can encourage. The term also denotes the political expedience of dissent. Utopia is analysed in terms of its form, content, or function, and according to its underlying sociocultural dynamic, which is, in turn, determined by intersecting permutations of space and time. This study furthermore categorises utopias as either representative of the same (that is, of the institutional, political, discursive, ideological and sociocultural status quo), or of the other. The other is defined here as an agent marginalised along the vectors of race, class, gender, and sexuality. Distopia is, accordingly, a dissenting utopia of the other, formulated to address, in particular, sociocultural exclusion and human rights violations linked to the parallel projects of neocolonial exploitation and of destabilising globalisation practices driven by neoliberal ideology. The utopias of three Dutch visual artists, namely Piet Mondrian (1872-1944), Constant Nieuwenhuys (1920-2005), and Jonas Staal (b. 1981) in collaboration with Moussa Ag Assarid (b. c.1975), are critiqued through the lens of distopia. This is done in order to assess the status of productive difference and engagement with the other in their respective utopias, created over the course of a century.

علیرغم نقش کلیدی نقاش هلندی پیت موندریان در به کمال رساندن نقاشی انتزاعی در نیمه اول قرن بیستم، غیبت تحقیقی جامع حول محور اصول نظری نقاشی نئوپلاستیک بچشم می خورد. در تحقیقات پیشین، پژوهشگران عمدتا به بررسی زندگی هنری موندریان و عواملی همچون تاثیر نظریات هنرمندان و فیلسوفان بر تغییر سبک او از نقاشی طبیعت گرا به نقاشی نئوپلاستیک پرداخته اند. مضاف بر این، تحلیل بصری نقاشیها عمدتا در غیاب نوشته های تئوریک و بالاخص اصول نقاشی نئوپلاستیک موندریان ارائه شده است. با وجود اهمیت و رابطه نزدیک بین نوشته های تئوریک-فلسفی و نقاشیهای نئوپلاستیک، بندرت تحلیلی جامع بر شش اصل نئوپلاستیسیزم که این نقاش در سال 1926 تدوین کرد، انجام یافته است. با عنایت به اهمیت محوری قواعد نقاشی نئوپلاستیک، هدف این مقاله بررسی شش اصل نئوپلاستیسیزم با تحلیلی جامع بر نوشته های موندریان بین سالهای 1917 تا 1926 می باشد. روش پژوهش توصیفی-تحلیلی-بصری و متکی بر منابع کتابخانه ای است. در انتهای این مقاله، خواننده به درک جامعی از نظریات هنری موندریان در رابطه با اصول ششگانه نئوپلاستیسیزم می رسد. آگاهی از این قواعد و مفاهیم اساسی کمک شایانی به مخاطبان در خوانش، نقد و درک بصری نقاشیهای نئوپلاستیک در ارتباط با مفاهیم کلیدی همچون عناصر نقاشی، فرم و فضا، هارمونی و ریتم خواهد کرد.

La voiture volée Dans une lettre adressée à Meyer Schapiro le 15 septembre 1972, Hubert Damisch, alors fellow de la Society for the Humanities de Cornell University, explique à son collègue et ami américain que la « petite voiture » que les parents de Teri, son épouse, leur avaient prêtée s'est volatilisée alors qu'elle se trouvait garée juste devant chez eux à Ithaca 1 . Une dizaine de jours plus tard, le 26, dans une missive toujours adressée à Schapiro, Damisch annonce que son véhicule a réapparu et expose, avec force détails, les aventures de l'engin : […] la voiture a été retrouvée par la police à trois ou quatre cents mètres en contrebas de la maison, dans un ravin, miraculeusement intacte (pas une égratignure, fût-ce de peinture). Elle avait glissé (comme l'illustre le croquis ci-dessous) le long de la rampe qui donne accès à la maison (les uns disent de son propre mouvement, d'autres pensent à une intervention plus humaine), traversé la route, écrasé des buissons qui se sont aussitôt redressés (nous y avions jeté un coup d'oeil avec le policier qui ne croyait pas à un vol), pour ensuite zigzaguer (en termes de ski : slalomer) parmi les arbres de la propriété voisine (dont les propriétaires venaient de déménager), en les évitant (les arbres) soi-gneusement, et enfin, freinée par un arbuste qui aura été la seule victime de l'affaire, venir s'affaler dans un fossé. Bien sûr, nous avons été la fable du lieu (pour ne pas dire pis). La police est venue prendre des photos, avant qu'un tracteur ne tire tranquillement de son trou la voiture, qui a bientôt démarré, après avoir expulsé le peu de terre qui s'était glissé dans le pot d'échappement. Il paraît que la chose se produit parfois, dans ce pays pentu qui vous a des airs de San Francisco 2 ! Outre la drôlerie du récit, la lettre se distingue par l'insertion de deux croquis (ill. p. 7) représentant, en coupe longitudinale et à vol d'oiseau, les zigzags du véhicule par pentes, routes et fourrés. Or ce dessin, qualifié par Schapiro dans sa réponse du 5 octobre 1972 de « perfectly "legible" 3 », donne lieu, dans cette même lettre du 26 septembre, à de pénétrantes considérations sur Ludwig Wittgenstein et l'image comme proposition (statement) : On a bien ri, et je m'en veux de ne pas vous avoir écrit aussitôt. Mais c'est que le petit croquis explicatif s'inscrit parfaitement dans le cours de mes préoccupations tel que vous l'avez orienté depuis ce mémorable week-end dans le Vermont. Le mémoire de Norman Malcolm sur Wittgenstein, qui aura été la première des Jérémie Koering Au moyen du trait, 3

Beyond the complexity of the relations of influence between Europe and Japan — beyond the Impressionist movement and its after effects, beyond Chevalier’s Orientalism and Hayashi’s (and the Japanese government’s) commercialism —, a spiritual relationship can be gleaned between the two. The voices of Chevalier’s blind musicians, and Nakamura’s blind Russian poet fail to transcend cultural difference. But a dialogue (albeit indirect) can be heard between Nakamura's Yaroshenko and van Gogh's Bonze.  For the sake of argument, we might envisage this dialogue as occurring between Monet's water lilies and the Japanese garden.

The paper focuses on Piet Mondrian, Georges Seurat, and Piero della Francesca. It outlines the definition of form in their work by exploring the genesis, or constitution of finite form out of different kinds of formlessness. Gilles Deleuze's philosophy of an immanent infinity, and its relation, via Spinoza, to Neoplatonism is a main philosophical resource of the text. in the concluding paragraphs the papers transposes the developed model to the question of form under the conditions of contemporary capitalism.

This essay attempts to interrogate the notion of the female as 'other' in the abstract compositions of early twentieth century Dutch painter Piet Mondrian, notions also addressed in his writings. The existing (Freudian and post-Freudian) psychoanalytical reading of Mondrian's abstract compositions by critic Donald Kuspit, interprets Mondrian's work as sublimation, relating to the id, ego and super-ego aspects of the artist's psyche. Kuspit's reading of Mondrian's abstract compositions as a form of sublimation, posits the art work as heroic personal and social redemption. In response to such a reading, feminist critique (specifically feminist theorist Luce Irigaray's third wave feminist discourse around the notion of the 'female as other') is used to dismantle Kuspit's model, and to read Mondrian's abstract works as well as his writings from an alternative (feminist) perspective.

This paper attempts to contextualize Mondrian‘s few writings on fashion
within his larger interest in oppositions and the work of early fashion theorists, who similarly framed dress in terms of binaries and antonyms. Like Mondrian, early fashion theorists were invested in ideas of opposition and universality, similarities that suggest that Mondrian may find conceptual allies in the first generation of fashion theorists, particularly J. C. Flügel, Thorstein Veblen, and Georg Simmel. Mondrian‘s largely overlooked approach to fashion theory sheds light on the understanding of his complex aesthetic philosophy, and, while much has been written about Mondrian‘s influence on fashion, there remains a need to navigate Mondrian‘s own inspiration by fashion.

Les trois combats de Fernand Léger « Avant tout, écrivait Apollinaire en 1908, les artistes sont des hommes qui veulent devenir inhumains. Ils cherchent péniblement les traces de l' inhumanité, traces que l' on ne rencontre nulle part dans la naturel. » Trois ans plus tard, Léger exposait ses Nus dans la forêt (fig. 1, p. 11) parmi les toiles cubistes de la fameuse Salle 41 du Salon des indépendants. Percevant dans cette oeuvre « une sauvage apparence de pneumatiques entassés », Apollinaire, laconique, notait que ce peintre était celui qui avait « encore l' accent le moins humain de cette salle » Evoquant à nouveau cette même oeuvre en 1913, il remarquait cette fois combien « les bûcherons portaient sur eux la trace des coups que leur cognée laissait aux arbres ». C' était donc là, sur ces stigmates communs aux arbres et à leurs tortionnaires, qu' il pouvait lire une inhumanité non pas naturelle, mais ajoutée, sécrétée par l' artiste comme ce vers quoi il tend Tandis que Picasso avait peuplé les bois de figures féminines à l' érotisme sacré tantôt accueillant et tantôt menaçant, c' était une altérité bien différente qui habitait la forêt de Léger : dans une « lumière verdâtre 1. Fer nand Léger , Nus dans l a forêt , 1909-1910. Ot t erl o, Ri j ksmuseum Kröl l er-Mül l er. 5. Fer nand Léger , Les Foreurs, 1916. Pari s, mus ée nat i onal d' Art moder ne, Cent r e Geor ges-Pompi dou. 6. Fer nand Léger , La Part i e de cart es, 1917. Ot t erl o, Ri j ksmuseum Kr öl l er-Mül l er. en-1585-CwTDyUuYz8aDbkuQ-tzEFeUGHQe69Dxrs acc 26 janvier 2022 à Eric Michaud Licence eden-1585-CwTDyUuYz8aDbkuQ-tzEFeUGHQe69Dxrs accordée le

En el marco de un replanteamiento general de las vanguardias y de una voluntad de reescritura de su historia, en la actualidad se ha empezado a revisar el estatuto del diseño -especialmente del diseño gráfico-en el surgimiento y el desarrollo de aquella revolución artística de principios del siglo XX. Desde la historia del arte y desde la estética, y a pesar de los prejuicios del modelo axiológico dominante, se comienza a percibir que las categorías de diseño y de lo gráfico juegan un papel fundamental en algunos aspectos de las vanguardias, especialmente en aquellos que tienen que ver con la idea de abstracción. Hace algunos años, a principios de los noventa, las historias del arte empezaron a considerar los objetos del diseño gráfico e industrial como parte de sus compilaciones visuales, aunque lo hicieran casi siempre como apéndice o margen del gran texto de la vanguardia. Estas ediciones mostraban, no obstante, las obras de diseño de los artistas de vanguardia no solo por su valor documental, concediendo mayor importancia a la faceta gráfica de los artistas visuales, desde Malevich a Vasarely o Maciunas. Aún así, esta reconsideración seguía atribuyendo un valor diferente a las obras pictóricas y a los carteles impresos, debido a la sublimidad que se seguía concediendo a la pintura -y posteriormente a su relevo en el arte conceptual-y que se negaba al diseño.

Nosso artigo analisa comparativamente a poética de João Cabral de Melo Neto (1920-1999) e algumas pinturas de Piet Mondrian (1872-1944) e Joan Miró (1893-1983). Para tanto, tomamos como ponto de partida o próprio olhar crítico do poeta, que, em poema intitulado “O sim contra o sim” e através da metáfora da mão direita, estabelece equiparação entre esses dois pintores, ainda que ambos possuíssem uma estética razoavelmente distinta um do outro. Por meio dessa visada crítica acerca dos pintores, alcançamos, por fim, uma leitura da própria poesia de João Cabral: ao escrever sobre outros, o poeta acaba escrevendo também sobre si mesmo.

This essay discusses the development of abstract painting in the twentieth century through the lens of artistic process. Before the invention of pressure-sensitive tape in the United States in the 1930s, abstract painters were limited to creating the straight edges of geometric forms by either applying paint freehand or by using tools such as straightedges and ruling pens. But whether abstract artists embraced the use of such aids, which resulted in a more industrial aesthetic, depended initially on whether they considered their artworks agents of spiritual cognition, as Wassily Kandinsky did, or agents of social transformation, as Aleksandr Rodchenko maintained. After tape became more widely available in the late 1940s, Piet Mondrian and Barnett Newman incorporated it into their respective repertoires. While Mondrian never used tape for painting his bands, Newman developed such a mastery of applications that he effectively voided the dichotomy of earlier ideological debates. The essay also addresses technical issues in the work of Paul Klee, Josef Albers, Harry Holtzman, Burgoyne Diller, Mark Rothko, Bridget Riley, Jo Baer, Agnes Martin, and Richard Lin.

“Metametaphors And
Mondrian: Neo-Plasticism And Its
Influences In Architecture”

By Barie Fez-Barringten
www.bariefez-barringten.com

5,431 words on 23 double spaced sheets


A review of an original work by Abdulaziz Al-Saati
"Mondrian: Neo-Plasticism and its influences in Architecture"
Original Article published in October 1-2, 1990 issue of the
Journal of the Faculty of Architecture of the
Middle East Technical University (M.E.T.U.)



Dr. Abdulaziz Al-Saati was the Dean of the
College of Architecture and Planning of
King Faisal University in
Dammam, Saudi Arabia while I was professor of Architecure from 1991 to 1996.




Introduction:
In an age where subjects, issues and themes come and go; where there are no heros nor villains we tend to rely upon the imagination of artist to conjure figures for our entertainment. We benefit from persons who exemplify high ideals, whose lives have met exemplary standards. In this way persons are types of metaphors, embodiments and archetypes with whom we identify. We can also turn to other contexts of our not- so-distant past to find both heros and issues. Issues which are today as relevant as they were yesterday, but with a commitment surpassing momentary benefits and rewards, pomp, glory or success. Throughout Al Saati's analysis of Mondrian this commitment and perseverence is between the lines. (1.0)"But, he maintained the idea of horizontal and vertical lines with the right angles". Even, in contrast to so many others who were pursuing material form and its representation.
Artists such as Van Gogh and Picasso needed to live through their work. "The art is everything". Art identifies with life. It is an experience amongst an infinite range of possible experiences which sanctifies a segment of the world and, which gives one a unique identity. It is a unique set of experiences upon which one can build. It is also the basis for communications with others. This is the crux of metaphor where we think our way into life through experience, observations and assumptions. If we don't follow-through and create them we read and appreciate the metaphors of lives which parallel our own. Their metaphor becomes ours. We share, as Mondrian and van

(1.0) A.Al-Saati; "Mondrian: Neo-plasticism and its influences in Architecture"

Doesburg, a common desire to make a difference in a world which was owned by the heros of yesterday. Without our tenacity it will remain their property.The combination of the Mondrian/van Doesburg world is a metaphor of true apparent aliens with one about art and painting and the other about architectural (1.0)expression of life, art and technology. They converged on Mondrian's concept that a (1.0)work of architecture is made up of planes possessing a multi sided plasticity in accordance with the theory of relativity. This concept was an outward expression of an underlying essence. What follows reveals that essence.
Mondrian's principles are limited and specific to the two dimensional surface which he adamantly defined. In addition to the other differences between him and his predecessors (and contemporaries) he also noticed that the others were involved with emulating the three- dimensional world on two-dimensional surfaces. He experienced the delight of restraint subordinated to the discipline of two-dimensions, including the point and its extension into a line. The choice of ninety degrees was all in respect to the dimensions, proportions and properties of the angles and size of his canvas. His preoccupation with tones, color and the unused spaces respected the two dimensions not even allowing his primaries, tones or unused space to either appear to "lift" or "recede" from the plane. His work was planer and two dimensional. Then how can we understand his experience when he added the third dimension? It was more than (1.0)"constructing lines, planes and color weight". It was not three-dimensional space, planes in space nor color which had weight nor the analogies they might conjure.

(1.0) A.Al-Saati; "Mondrian: Neo-plasticism and its influences in Architecture"

It was purely and simply placing his two dimensional principles into a relationship with three dimensional reality and letting one influence the other. His alien two dimensional standards, theories and principles transformed three dimensional thinking. Indeed, by themselves, Mondrian's principles are limited by his own very full experience with the world of his discipline but much of what can be said of two can also be said for three dimensions. Buchminster Fuller additionally moved his work from the third to the fourth and so on. However, "Bucky's" movement was linear from the first to the forth and fifth etc. through a geometry of dimensions. This is not true for Mondrian.
Metametaphor reveals Mondrian when he compares (1.0)"Neo Plasticism and color" he describes its pure and definite color within planes which (1.0)remain equivalent to the surface of the picture; in other words, color remains flat on a flat surface". "Neo Plasticism is still pointing" says Mondrian: "its means of expression is pure and definite color, in planes which remain equivalent to the surface". Mondrian's metaphor is his experience with a common context of the flat surface which incorporates elements composed into relationships by means of expression. (2.0)The artist's experience employs the painting technique to 1reveal his experience.

(1.0) A.Al-Saati; "Mondrian: Neo-plasticism and its influences in Architecture"

1. revelare : "To uncover; insight; expose; to make something hidden known.

(2.0) G.Dodds, "On the place of Architectural Speculation"


Metaphor:
(1.0)Art is the making of metaphors. Architecture is an art because it too makes metaphors. The artist as metaphorician experiences the world which he exudes through a media. What is produced we call a work of art, painting, sculpture, dance, etc, which only annotates its distinctive media but is not itself what is art. Art is a metaphor. All works of art have that in common. They are instruments of change, transfers and transformers. They are composed of components, assembled of parts, etc. and whose parts interact in a certain way.
1Metaphor is associated with a figure of speech in which a word or phrase literally denoting one kind of object (or idea) is used in place of another to suggest a likeness or analogy between them. By applying the concept of metaphor to all arts, including architecture, we expand the scope of the metaphor's usual application to speech using other communications vehicles which may substitute words for color, form, shape, scale, movement, gesture, sound, harmonics, mass, volume, etc . We do so to enhance our understanding of any one and all 2arts and to see the relations and interactions of one to another 2art. It is based on our assumption that the message of one form may be expressed in another. There are commonalities and differences between one and other vehicle but they work essentially the same. It is how they work, and that they are the embodiment of an expressed experience (which can later be read) that links them together. It is their ability to express one thing in terms of another and make the strange familiar that they all have in common.
(1.0) A.Al-Saati; "Mondrian: Neo-plasticism and its influences in Architecture"

1. Metaphora: metapherien: to transfer - to bear

2. Art: ars: arm
Their skill is conscious and acquired by experience, study or observation. When we apply the metaphor's structure, operation, use, etc. outside of literature we are changing its scope. In that way we designate a new but related form designed to deal critically with the original. So we can call our expanded form 1metametaphor (This is discussed in detail later in this article).
Metaphors include alien with known elements assembled on the basis of common essences. Mondrian's neo plasticism is replete with such influences and transformations (1.0)"Peter Blake and Vincent Scully both claim that Mondrian and de Stijl were influenced by Wright's works. The Metaphors, indeed, works in two directions. If metaphors are a result of communications then (1.1)J.J.P. Oud's artistic intentions were shaped around the 1917 1919 period from numerous discussions with van Doesburg and Mondrian.

The influence, work and projections of Mondrian form his commitments, context and media to architecture is metametaphoric. It is not analogous, logic or scientific. Since there are already many examples of the applications, use and experiments using Neo plasticism in architecture we can benefit by analyzing neo plastic metaphors. But first what are the peculiar characteristics of the metaphor.
1. Meta : change, among, with; as a prefix to modify.
(1.0) A.Al-Saati; "Mondrian: Neo-plasticism and its influences in Architecture"
(1.1) J. Joedicke (1965) J.J.P. Oud., Baun and Wohen (9:2) 1-2 from A.Al-Saati: "Mondrian: Neo-plasticism and its influences in Architecture"

Metaphor's characteristics:
The dominant characteristics of metaphors are that they:
1. Speak about one element in terms of another;
2. Have an essence common to both;
3. Have elements that are apparently unrelated;
4. Have at least one of their elements that are alien and another known;
5. Make the strange familiar;
6. Transfer, transform, bridge and change;
7. Link reader to maker, user to universe, and perceptor to society;
8. Are interactive and dynamic; and
9. Are a manifestation of composer's creative experiences.
The Mondrian Metaphor:
(1.2)Art of building establish the harmonious proportions between ourselves and our surroundings (A.Al Saati; deStijl, 11, p.53). The art of painting has demonstrated abstractly what the art of building has got to make, 1tangible. Upon what basis can the art of building achieve what paintings' accomplished. (1.2)"What are our actual surroundings today? We are living in somebody else's house with somebody else's furniture, carpets, china, paintings". The metaph...