Composition No. 10 () by Piet Mondrian
Piet Mondrian&#;s Composition No. 10 is a non-representational, geometric painting characterized by an interlocking grid made of black lines and primary colors. The artwork has loose dating around the years , which places it in the neoplasticist period of Mondrian&#;s career. Neoplasticism was coined by the artist himself to describe his mature style that used basic combinations of lines and colors.
Mondrian&#;s Composition No. 10 is an excellent example of his unique geometric approach to painting, using simple forms and bright colors to create harmony and balance on the canvas. This artwork marked a shift in Mondrian&#;s motifs towards more extensive rectangular formats, and the application of thicker black lines resulted in greater viewer participation when observing its optical effects.
It is worth noting that Pier and Ocean (Composition No. 10) is another title for this artwork that may cause confusion since there is another piece bearing this same name created by Mondrian in as part of his Early Modernist period. Although these two paintings differ significantly both stylistically and conceptually (the earlier work being an oil on
Pier and Ocean
In , Piet Mondriaan lived for some time in the seaside resorts of Domburg and Scheveningen. There he made a series of drawings inspired by the sea and the breakwaters. Based on these drawings, in he created Composition 10 in black and white, sometimes called Pier and Ocean. The painting is the first in which Mondriaan uses exclusively black and white.
Elliptical
Composition 10 in black and white is an abstract, elliptical composition of short, horizontal and vertical black lines. The rolling waves can be seen in the long, straight horizontals in the middle of the painting, while the abstraction of a breakwater is recognizable in the vertical lines at the bottom of the painting.
Harmony and rhythm
Although the starting point of the painting is still the visible reality, it is clear that Mondriaan is no longer interested in the recognizable representation of nature. He is mainly concerned with the bringing together of opposites, the horizontal and vertical, to thereby express a general idea of harmony and rhythm.
Details
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Summary of Piet Mondrian
Piet Mondrian, one of the founders of the Dutch modern movement De Stijl, is recognized for the purity of his abstractions and methodical practice by which he arrived at them. He radically simplified the elements of his paintings to reflect what he saw as the spiritual order underlying the visible world, creating a clear, universal aesthetic language within his canvases. In his best known paintings from the s, Mondrian reduced his shapes to lines and rectangles and his palette to fundamental basics pushing past references to the outside world toward pure abstraction. His use of asymmetrical balance and a simplified pictorial vocabulary were crucial in the development of modern art, and his iconic abstract works remain influential in design and familiar in popular culture to this day.
Accomplishments
- A theorist and writer, Mondrian believed that art reflected the underlying spirituality of nature. He simplified the subjects of his paintings down to the most basic elements, in order to reveal the essence of the mystical energy in the balance of forces that governed nature and the universe.
- Mondrian chose to distill his representations of the world t
Composition No. 10 Pier and Ocean, by Piet Mondrian
In June an exhibition of Mondrian's work was opened in The Hague, at the Walrecht Gallery. A few weeks later the artist was called back to the Netherlands from Paris, to the sickbed of his father. Then World War I broke out, making it impossible for him to return to France, although he insisted that he wanted to go. In the end, his family and friends were able to persuade him that any such attempt was useless. And so Mondrian was confined to the Netherlands for the duration of the war, cut off from the ambiance of Paris which had inspired most of his work over the last few years.
He soon returned to the themes he had been concerned within Zealand and elsewhere before moving to Paris. He did a series of drawings of the church at Domburg, conceived in accordance with the "abstract cubism" that he had developed in Paris. But in addition to this old theme he took up two particular new motifs, which were to occupy him for the first years of his enforced residence in the Netherlands: the sea, a subject that he had already handled in several works during his Zeeland period; and someth
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