University Of Tehran Press Journal of Fine Arts: Visual Arts 2228-6039 27 2 2022 07 23 Piet Mondrian’s Evolution of his Theoretical Ideas and its Conformity with Pure Elements of Neo-Plastic Paintings throughout 1927-1944 Piet Mondrian’s Evolution of his Theoretical Ideas and its Conformity with Pure Elements of Neo-Plastic Paintings throughout 1927-1944 59 69 87606 10.22059/jfava.2021.328958.666775 FA Ali Fallahzadeh 1 Post-Doctorate Research Fellow, Department of Research of Art, Faculty of Art, Alzahra University, Tehran, Iran., Tehran, Iran. Zahra Rahbarnia Associate Professor, Department of Research of Art, Faculty of Art, Alzahra University, Tehran, Iran. Journal Article 2021 08 16 In spite of the proposal of various theoretical arguments on philosophical, historical, social, and stylistic roots of the formation of pure abstract paintings, their stark appearance has been often a deterrent factor for beholders to be attracted to this kind of art. One of the main examples of this problem is pertinent to the visual analysis of Piet Mondrian’s (1872- 1944) Neo-Plastic compositions. Although, Mondrian’s seminal role in the development and maturation of abstract painting is evident in Modern art history, yet little is known about the development of his artistic ideas on principles of Neo-Plasticism he wrote in 1926. Mondrian in many instances in his 1917-1944 theoretical writings explicates about his Neo-Plastic principles which he considers them as universal principles not only for a ‘new art’ - best epitomized in his pure abstract style called Neo-Plasticismbut also for well-being of mankind and construction of a new life and a utopian society. Nevertheless, in the previous publications, Mondrian’s Neo-Plastic paintings and his theoretical writings have been analyzed apart from each other, rather than to be examined in relation to each other. Hitherto, Neo-Plastic paintings and its pertinent theory have been either scrutinized in the light of intricate philosophical, esoteric and artistic doctrines, particularly Hegel’s thoughts, Theosophy, Cubism, and De Stijl movement, or they are mostly examined based upon a Greenbergian formalist standpoint in relation to criterion of flatness of elements of painting on the canvas as well as abstraction of representational elements. Nevertheless, Neo-Plastic paintings have been rarely examined in regard to the principles of Neo-Plasticism. As such, the goal of this article is to assess the authenticity of this hypothesis that looking at Mondrian’s Neo-Plastic paintings and writings in parallel with each other, helps us to more clearly interpret and discern the apparent changes in the appearance of NeoPlastic paintings in different periods of Neo-Plasticism. Indeed, this article mainly aims to expound the rationales behind the extant pictorial changes in appearance of the late Neo-Plastic paintings, especially those paintings created after 1932. To this end, development of Mondrian’s theoretical ideas in respect to role and characteristics of elements of his Neo-Plastic paintings (mainly line, color, and plane), especially in relation to the content of the first principle of Neo-Plasticism, are scrutinized in two periods of Neo-Plasticism: 1- Middle Neo-Plastic period (1927- 1931) when we realize subtle changes in appearance of lines that differentiate them from pre-1926 compositions; 2- Late Neo-Plastic period (1932 -1944) when we find revolutionary alterations in appearance of Neo-Plastic paintings such as pluralization of lines, using lines and colors as free and self-reliant elements, and transformation of the role of lines and colors. The results of this research demonstrate that in the late Neo-Plastic period, Mondrian’s theoretical viewpoints on elements of Neo-Plastic painting have been noticeably altered in comparison to middle period and particularly in respect to what he had theorized in his first principle of Neo-Plasticism in 1926; and in some cases, especially after 1938, they even violate the first principle of Neo-Plasticism In spite of the proposal of various theoretical arguments on philosophical, historical, social, and stylistic roots of the formation of pure abstract paintings, their stark appearance has been often a deterrent factor for beholders to be attracted to this kind of art. One of the main examples of this problem is pertinent to the visual analysis of Piet Mondrian’s (1872- 1944) Neo-Plastic compositions. Although, Mondrian’s seminal role in the development and maturation of abstract painting is evident in Modern art history, yet little is known about the development of his artistic ideas on principles of Neo-Plasticism he wrote in 1926. Mondrian in many instances in his 1917-1944 theoretical writings explicates about his Neo-Plastic principles which he considers them as universal principles not only for a ‘new art’ - best epitomized in his pure abstract style called Neo-Plasticismbut also for well-being of mankind and construction of a new life and a utopian society. Nevertheless, in the previous publications, Mondrian’s Neo-Plastic paintings and his theoretical writings have been analyzed apart from each other, rather than to be examined in relation to each other. Hitherto, Neo-Plastic paintings and its pertinent theory have been either scrutinized in the light of intricate philosophical, esoteric and artistic doctrines, particularly Hegel’s thoughts, Theosophy, Cubism, and De Stijl movement, or they are mostly examined based upon a Greenbergian formalist standpoint in relation to criterion of flatness of elements of painting on the canvas as well as abstraction of representational elements. Nevertheless, Neo-Plastic paintings have been rarely examined in regard to the principles of Neo-Plasticism. As such, the goal of this article is to assess the authenticity of this hypothesis that looking at Mondrian’s Neo-Plastic paintings and writings in parallel with each other, helps us to more clearly interpret and discern the apparent changes in the appearance of NeoPlastic paintings in different periods of Neo-Plasticism. Indeed, this article mainly aims to expound the rationales behind the extant pictorial changes in appearance of the late Neo-Plastic paintings, especially those paintings created after 1932. To this end, development of Mondrian’s theoretical ideas in respect to role and characteristics of elements of his Neo-Plastic paintings (mainly line, color, and plane), especially in relation to the content of the first principle of Neo-Plasticism, are scrutinized in two periods of Neo-Plasticism: 1- Middle Neo-Plastic period (1927- 1931) when we realize subtle changes in appearance of lines that differentiate them from pre-1926 compositions; 2- Late Neo-Plastic period (1932 -1944) when we find revolutionary alterations in appearance of Neo-Plastic paintings such as pluralization of lines, using lines and colors as free and self-reliant elements, and transformation of the role of lines and colors. The results of this research demonstrate that in the late Neo-Plastic period, Mondrian’s theoretical viewpoints on elements of Neo-Plastic painting have been noticeably altered in comparison to middle period and particularly in respect to what he had theorized in his first principle of Neo-Plasticism in 1926; and in some cases, especially after 1938, they even violate the first principle of Neo-Plasticism

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