Piet Mondrian’s Evolution of his Theoretical Ideas and its Conformity with Pure Elements of Neo-Plastic Paintings throughout 1927-1944

Document Type : Research Paper

Authors

1 1 Post-Doctorate Research Fellow, Department of Research of Art, Faculty of Art, Alzahra University, Tehran, Iran., Tehran, Iran.

2 Associate Professor, Department of Research of Art, Faculty of Art, Alzahra University, Tehran, Iran.

Abstract

 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 

Keywords

References

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Veen, L. A. (2017). Piet Mondrian on the Principles of Neo-Plasticism. International Journal of Art and Art History, 5(2), 1-12.
Journal of Fine Arts: Visual Arts
Volume 27, Issue 2
August 2022
Pages 59-69

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