Piet Mondrian Quotes (95 quotes) | Quotes of famous people

Piet Mondrian: 95 quotes 4 likes

Famous Piet Mondrian Quotes

“Instinct reveals itself as self-concentrating, self-edifying it is limitation. Intuition produces self-denial, self-destruction； it is expansion. Culture can develop both. If it develops instinct, animal nature appears. Then culture destroys the intuitive capacity which men have even found in a primitive state.”

Piet Mondrian

Source: 1940's, A New Realism', 1943-1945, p. 17

“Neo-Plasticism has its roots in Cubism. It could just as easy be called the Painting of Real Abstraction. Since the abstract can be expressed by a plastic reality... It achieves what all painting has tried to achieve but has been able to express only in a veiled manner. By their position and their dimension as well as by the importance of given to colour, the coloured planes express in a plastic way only relations and not forms. Neo-Plasticism imparts to these relations an aesthetic balance and thereby expresses universal harmony... For the moment what art had discovered must still be limited to art itself. Our environment cannot yet be realized as a creation of pure harmony. Art today is at the very point formerly occupied by religion. In its deepest meaning art was the transposition of the natural [into another plane]; in practice it always sought to achieve harmony between man and untransposed nature. Generally speaking, so do Theosophy and Anthroposophy, although these already possessed the original symbol of balance. And this is why they never were able to achieve equivalent relations, that is to say true harmony.”

Piet Mondrian

Quote in Mondrian's letter to Rudolf Steiner, c. 1921-23; as cited in Abstract Painting, Michel Seuphor, Dell Publishing Co 1964, p. 83-85
1920's

“.. reality reveals itself by substantial, palpable forms, accumulated or dispersed in empty space.... these forms are part of that space and.... the space between them appears as form, a fact which evidences the unity of form and space.”

Piet Mondrian

Source: 1940's, A New Realism', 1943-1945, p. 18

“Well, I think my paintings are fast enough already…”

Piet Mondrian

Quote of Mondrian, 1930 reacting on Alexander Calder, as cited by by Mondrian's recent biographer Hans Janssen, of the Gemeentemuseum in The Hague; as cited by Alastair Sooke, in 'Mondrian - the Joy of Being Square'; BBC culture, 10 July 2017 http://www.bbc.com/culture/story/20170710-mondrian-the-joy-of-being-square
In 1930, the American sculptor Alexander Calder, (inventor of the mobile / moving sculpture) visited Mondrian in his studio in Paris. Calder said 'Maybe you should take all these red, yellow and blue elements off the canvas and let them hang in the air, so they can move'.
1930's

“Composition allows the artist the greatest possible freedom, so that his subjectivity can express itself, to a certain degree, for as long as needed.”

Piet Mondrian

1910's, Natural Reality and Abstract Reality', 1919

“The artist make things move, and is moved. He is policeman, motor car, everything at once. He who makes things move also creates rest. That which aesthetically is brought to rest is art.”

Piet Mondrian

In 'The Grand Boulevards' (of Paris), Piet Mondriaan, in 'De Groene Amsterdammer', 27 March 1920 pp. 4-5
1920's

Piet Mondrian Quotes about art

“It may be noted that in Neo-Plastic art the crucial thing is the right angel, that is, the right-angle lines. And not whether the position of the lines is vertical or horizontal... So it is possible to make very beautiful things while placing the lines in a diagonal position.”

Piet Mondrian

In 'Neo-Plasticism: Home – Street – City', Piet Mondriaan, 'i 10', Jan. 1927
1920's

“The important task of all art is to destroy the static equilibrium by establishing a dynamic one. Non-figurative art demands an attempt of what is a consequence of this task, the destruction of particular form and the construction of a rhythm of mutual relations, of mutual forms, or free lines.... the law of the denaturalization of matter is of fundamental importance. In painting, the primary color that is as pure as possible realizes this abstraction of natural color.”

Piet Mondrian

Quote in: 'Plastic Art and Pure Plastic Art', Piet Mondrian (1937); in 'Documents of modern Art' ed. Robert Motherwell for Wittenborn, Schulz, New York 1945
1930's

“Thus we must carefully distinguish between two kinds of reality, one which has an individual character, and one which has a universal appearance... It is, however, wrong to think that the non-figurative artist finds impressions and emotions received from the outside useless, and regards it even as necessary to fight against them... It is equally wrong to think that the non-figurative artist creates through 'the pure intention of his mechanical process', that he makes 'calculated abstractions' and that he wish to 'suppress sentiment not only in himself but in the spectator'... It is thus clear that he has not become a mechanic, but that the progress of science, of technique, of machinery, of life as a whole, has only made him into a living machine, capable of realizing in a pure manner the essence of art.”

Piet Mondrian

Quote in: 'Plastic Art and Pure Plastic Art', Piet Mondrian (1937); in 'Documents of modern Art' ed. Robert Motherwell for Wittenborn, Schulz, New York 1945
1930's

“I believe that new art must differ totally in its manifestation from art as we know it, and people may be very reluctant to accept this. It is perhaps true to say, as someone did of cubism, that 'To sum up: since art is a need to create rather than imitate, the 'cubists' rousing themselves from the sentimentality born of the picturesque aspect of some natural spectacle or other, disengage the fleeting aspects from those which are constant and absolute, and with the aid of these two elements, construct a reality equivalent to that which they see before them'. Thus it is a question of finding the true equivalence (that, offered by Cubism is still not true equivalence), and this can only be 'that which is not nature at all, and is nonetheless one with nature”

Piet Mondrian

like in Neo-Plasticism / De Stijl
Quote in Mondrian's letter to Lodewijk van Deyssel (who reacted as Dutch art critic on Mondrians essay: 'Le Néo-plasticisme'] Paris, February 1921; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 136
1920's

“Now the only problem is to destroy these lines also through mutual opposition... [note under his letter]: I think that the destructive element is too much neglected in art.”

Piet Mondrian

Quote in his letter to Sweeney, 24 May 1943; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 240
1940's

“Art will not only continue but will realise itself more and more. By the unification of architecture, sculpture and painting a new plastic reality will be created.”

Piet Mondrian

quote, 1937; last lines of Mondrian's publication in 'Circle'; as cited in Abstract Art, Anna Moszynska; Thames and Hudson, London 1990, p. 117
1930's

Piet Mondrian Quotes about nature

“The new plastic idea cannot, therefore, take the form of a natural or concrete representation, although the latter does always indicate the universal to a degree, or at least conceals it within.”

Piet Mondrian

1910's, Natural Reality and Abstract Reality', 1919

“Vertical and horizontal lines are the expression of two opposing forces; they exist everywhere and dominate everything; their reciprocal action constitutes 'life'. I recognized that the equilibrium of any particular aspect of nature rests on the equivalence of its opposites.”

Piet Mondrian

Quote in 'Plastic Art and Pure Plastic Art', Piet Mondrian (1937), in 'Documents of modern Art', for Wittenborn, New York 1945, p. 13; as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 55
1930's

“It took me a long time to discover that particularities of form and natural colour evoke subjective states of feeling which obscure pure reality. The appearance of natural forms changes, but reality remains. To create pure reality plasticity, it is necessary to reduce natural forms to constant elements of form, and natural colour to primary colour. The aim is not to create other particular forms and colours, with all their limitations, but to work toward abolishing them in the interest of a larger unity.”

Piet Mondrian

Source: Later Quote of Mondrian, about 1910-1914; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 42

“And then about whether or not to work from a given in nature. In my view, you [ Van Doesburg ] define this in a rather narrow sense. In the main, I do agree with you that the destruction of the natural, and it reconstruction, must be accomplished according to a spiritual image, but I believe that we should take a broad view here. What is natural does not have to be a representation of something. I'm now working on a thing that is a reconstruction of a starry sky ['Composition, Checkerboard Dark Colours', 1919] and yet I'm making it without a given from nature. Someone who says he uses a theme from nature can be right, but also someone who says he uses nothing at all.”

Piet Mondrian

Quote in Mondrian's letter to Theo van Doesburg, 18 April 1919; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, pp. 125-6
1910's

“With regard to the diagonal, too, I am in complete agreement with you [with Theo van Doesburg ]. As soon as it appears together with straight [horizontal and vertical] lines, I believe it should be condemned... A while back I started a thing entirely in diamonds [diamond-shape] like this [his sketch in the letter of several diamond-forms]. I have to find out if it's possible: intellectually I'm inclined to say it is. There's something to be said for the idea, because perpendicular and flat lines can be seen everywhere in nature; by using a diagonal line I would be canceling that out. But I'm inclined to say that this cannot be combined with perpendicular and flat lines or with different kinds of slanting lines.”

Piet Mondrian

quote about the growing controversy between Mondrian and Van Doesburg. concerning the use of diagonal lines
Source: quote from a letter of Mondrian to Theo van Doesburg, undated, c. May 1918; as cited in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 120

“The cultivated man of today is gradually turning away from natural things, and his life is becoming more and more abstract. Natural (external) things become more and more automatic, and we observe that our vital attention fastens more and more on internal things.”

Piet Mondrian

1910's, Natural Reality and Abstract Reality', 1919

Piet Mondrian: Trending quotes

“I am searching for the proper harmony of rhythm and unchanging proportion, as I wrote in the article. And I cannot tell you how difficult it is. [Mondrian is reacting on Van Doesburg criticism of the strong domination of the regular grid in Mondrian's latest paintings]”

Piet Mondrian

In Mondrian's letter to Theo van Doesburg, Paris, 16 September 1919; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 171
1910's

Search , Strong , Painting

“Culture produces relative consciousness of the changeable expression of reality. When this consciousness is attained, a revolt takes place: the beginning of the deliverance from that expression of reality. Destruction of its limitation follows. The culture of the intuitive faculties has conquered. A clearer perception of constant reality is possible. A new realism appears.”

Piet Mondrian

Source: 1940's, A New Realism', 1943-1945, p. 18

Reality , Appearance

“In terms of composition the new plasticism is dualistic. Through the exact reconstruction of cosmic relations it is a direct expression of the universal; by its rhythm, by the material reality of its plastic form, it expresses the artist's individual subjectivity. It thus unfolds before us a whole world of universal beauty without thereby renouncing the human element.”

Piet Mondrian

1910's, Natural Reality and Abstract Reality', 1919

World , Beauty , Reality , Universe

Piet Mondrian Quotes

“And finally I must tell you that I was influenced [in Paris, c. 1912/13] by seeing the work of Picasso, whom I 'greatly' admire. I am not ashamed to speak of his influence, for I believe that it is better to be receptive to correction than to be satisfied with one's own imperfection, and to think that one is O so original! Just as so many painters think. And besides, I am surely totally different from Picasso, as one is generally wont to say.”

Piet Mondrian

Quote from Mondrian's letter to H. P. Bremmer, Paris 29 January 1914; ; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 81
1910's

Thinking

“Only through intuition does a work rise above more or less subjective expression. Different periods produce different feelings and conceptions, and in each period men differ. Consequently different art expressions even in a single period are not only logical but a tribute to the general development of art. Intuition always finds the way of progress, which is continuous growth toward a clearer establishment of the content of art: the unification of man with the universe.”

Piet Mondrian

'A New Realism', p. 17
1940's, A New Realism', 1943-1945

Men , Art , Way , Feeling

“The abstract human mind will have to receive the intended impression by its own means. I always confine myself to expressing the universal, that is, the eternal (closest to the spirit) and I do so in the simplest of external forms, in order to be able to express the inner meaning as lightly veiled as possible.”

Piet Mondrian

Quote of Mondrian in his letter to Theo van Doesburg, 1915; as cited in the 'Stijl' catalogue, 1951, p. 71; quoted in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 6
1910's

Universe

“[jazz and Neo-Plasticism are] highly revolutionary phenomena: they are destructive constructive. They do not destroy the actual content of form, but rather deepen form only in order to elevate it to a new order. They break the bonds of 'form as individuality' in order to make possible a universal unity.”

Piet Mondrian

Quote in: 'De Jazz en de Neo-plastiek', Piet Mondriaan, in 'i 10', 1927 pp. 421-427
1920's

Universe

“The principle of this art [as Mondrian proposes his view on modern art] is not a negation of matter, but a great love of matter, whereby it is seen in the highest, most intense manner possible, and depicted in the artistic creation.”

Piet Mondrian

quote from Mondrian's sketchbook II, 1912/13; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 78
1910's

Love , Art

“The new plastic idea thus correctly represents actual aesthetic relationships. To the modern artist, it is a natural consequence of all the plastic ideas of the past. This is particularly true of painting, which is the art least bound to contingencies. The picture can be a pure reflection of life in its deepest essence.”

Piet Mondrian

1910's, Natural Reality and Abstract Reality', 1919

Life , Art , Idea , Nature

“As you can see this is a composition of vertical and horizontal lines which will (in an abstract manner) have to express the idea of rising upwards, of magnitude. This is the same idea which used, for example, to be the guiding principle in the construction of cathedrals. Since only the manner of expression and not the representation has to express this general idea, I have not given any title. An abstract human mind will, of itself, receive the intended impression. I always confine myself to expressing the general.”

Piet Mondrian

Quote in Mondrian's letter to Theo van Doesburg, Amsterdam, 1915; as cited in Letters of the great artists, Richard Friedenthal, Thames and Hudson, London, 1963, p. 234 (transl. Daphne Woodward)
1910's

Idea

“After your high-handed improvement(?) of 'Neo-plasticism' any co-operation is quite impossible for me... For the rest sans rancune - Piet Mondriaan.”

Piet Mondrian

Quote of Mondrian in a letter to Van Doesburg, 4 Dec. 1927; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 27
Mondrian's answer to Theo van Doesburg's retrospective article in 'De Stijl' magazine in 1929, where he wrote: 'By the lively and most articulate evolution the principles, developed mainly by P. Mondriaan in 'De Stijl' could not any longer be considered as generally characteristic of the opinion of the group.'
1920's

“I believe that it is possible by means of horizontal and vertical lines, constructed 'consciously' but not 'calculating', guided by a higher intuition and brought to harmony and rhythm – I believe that these fundamental aesthetic shapes – where necessary supplemented by lines in other directions or curved lines, make it possible to arrive at a work of art which is as strong as it is true. For anyone who sees more deeply, there is nothing vague about this; it is only vague for the superficial observer of nature. And 'chance' must be as far removed as 'calculation'. And for the rest it seems to me that it is necessary to keep breaking off the horizontal or vertical line: for if these directions were not countered by others, they would themselves come to signify something 'specific' and thus human.”

Piet Mondrian

Quote of Mondrian in a letter to H. P. Bremmer, Paris 29 January 1914; ; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 81
1910's

Art , Nature , Strong , Chance

“Environment, education, experience, make men conscious of passing reality but overwhelm their intuitive capacity when this is not very strong.”

Piet Mondrian

Source: 1940's, A New Realism', 1943-1945, p. 17

Men , Education , Reality , Strong

“[the double line in his paintings] is still one line, as in the case of your grooves [= the wide sunken lines in the relief's, the artist Gorin made then]... In my last things the double line widens to form a plane, and yet it remains a line. Be that as it may, I believe that this question is one of those which lie beyond the realm of theory, and which are of such subtlety that they are rooted in the mystery of 'art.”

Piet Mondrian

But all that is not yet clear in my mind.
Quote in Mondrian's letter to artist Gorin, [who stated that the double line broke the necessary symmetry], 31 January, 1934; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 215
1930's

Lie , Art , Question , Painting

“If the masc. [masculine] is the vertic. [vertical] line, then a man will recognize this element in the rising line of a forest; in the horizont. [horizontal] lines of the sea he will see his complement. Woman, with the horizont. line as element, sees herself in the recumbent lines of the sea, and her complement in the vert. lines of the forest.”

Piet Mondrian

[on his two paintings 'Sea' and ' Trees', both made in 1912 https://upload.wikimedia.org/wikipedia/commons/6/65/Trees%2C_1912%2C_Mondrian.jpg
note in his sketchbook, undated but c. 1912; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 70
1910's

Sea

“It is the same with art. Art will become the product of another duality in man: the product of a cultivated externality and of an inwardness deepened and more conscious. As a pure representation of the human mind, art will express itself in an aesthetically purified, that is to say, abstract form.”

Piet Mondrian

1910's, Natural Reality and Abstract Reality', 1919

Art

“I am very glad that the criticism is what it is. It is all right that way. In complete opposition to our direction. Otherwise we [De Stijl-artists] would have nothing to do. I got another impression from your letter, but it is much better this way. There we see again: we have straightly to oppose the whole to-do, à part.”

Piet Mondrian

Quote of Mondrian in a letter to Theo van Doesburg, 17 May, 1920; as cited in 'Stijl' catalogue, 1951, p. 72; quoted in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p 19
1920's

Way , Parting

“The first thing to change in my painting was the color [c. 1908-09]. I forsook natural color for pure color. I had come to feel that the colors of nature cannot be reproduced on canvas. Instinctively I felt that painting had to find a new way to express the beauty of nature.”

Piet Mondrian

Quote of Mondrian about 1905-1910; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 40

Beauty , Color , Way , Feeling

“The free placement of the means of expression is a privilege enjoyed exclusively by painting [different opinion with Theo van Doesburg]] ]. The sister arts, sculpture and architecture, are more restricted in this respect. The other arts enjoy even less scope in their employment of the means of expression.”

Piet Mondrian

Quote of Mondrian, c. Oct. 1917; as cited in Letters of the great artists, Richard Friedenthal, Thames and Hudson, London, 1963 (transl. Daphne Woodward), p. 237
1910's

Art , Sister , Painting

“You should remember that my things are still intended to be paintings, that is to say, they are plastic representations, in and by themselves, not part of a building. Furthermore, they have been made in a small room. Also, that I use subdued colours for the time being, adapting myself to the present surroundings and to the outer world; this does not mean that I should not prefer a pure colouring. Otherwise you might think that I contradict myself in my work.”

Piet Mondrian

Quote of Mondrian in a letter to Theo van Doesburg, 13 Feb. 1917; as cited in 'Stijl' catalogue, 1951, p. 72; in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, pp 13-14
1910's

World , Thinking , Time , Parting

“The truly modern artist is aware of abstraction in an emotion of beauty; he is conscious of the fact that the emotion of beauty is cosmic, universal. This conscious recognition has for its corollary an abstract plasticism, for man adheres only to what is universal.”

Piet Mondrian

1910's, Natural Reality and Abstract Reality', 1919

Beauty , Universe

“The surface of things gives enjoyment, their interiority gives life.”

Piet Mondrian

Written note in Mondrian's sketchbook around 1911; quoted in Abstract Painting, Michel Seuphor, Dell Publishing Co.,1964, p. 11
1910's

Life

“Quote in a letter of 7 March 1917 to H. P. Bremmer; as cited in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 91”

Piet Mondrian

1910's

Books , Art , Quotes

“A particular thought is not the same as a concentrated, creative thought, which is actually a feeling of inward-looking calm. The former produces a descriptive and morpho-plastic art, the latter a purely plastic manifestation. It is a question of the universal versus the individual. [Mondrian refers to André Gide's 'Dada', in 'Nouvelle Revue Francaise', 1 April 1920]”

Piet Mondrian

As quoted by the editors of 'The New Art – The New Life', op. cit. (Intro., note 1), p. 395, note 8
1920's

Art , Feeling , Question , Universe

“.. the elements of form have a particular aspect; every fragment, every plane, every line has its proper character.”

Piet Mondrian

Source: 1940's, A New Realism', 1943-1945, p. 18

“I believe that in our period it is definitely necessary that, as far as possible, the paint is applied in pure colours, set next to each other in a pointillist or diffuse manner. This is stated strongly, and yet it relates to the idea which is the basis of meaningful expression in form, as I see it. It seems to me that the clarity of ideas should be accompanied by a clarity of technique.”

Piet Mondrian

Quote in Mondrian's letter to Israel Querido, Summer of 1909; published in the weekly magazine 'De Controleur' 23 Oct, 1909; as cited in English translation, in Two Mondrian sketchbooks 1912 - 1914, ed. Robert P. Welsh & J. M. Joosten, Amsterdam 1969 p. 10
1900's

Idea , Painting

“The new vision…. does not proceed from a fixed point. Its viewpoint is everywhere, and not limited to any one position [in space]. Nor is it bound by space or time (in accordance with the theory of relativity) [of Einstein ]. In practice, the viewpoint is in front of the plane… Thus this new vision sees architecture as a multiplicity of planes; again flat. This multiplicity composes itself (in an abstract sense) into a flat image [in contrast to Theo van Doesburg who emphasized the dynamic position of the viewer – a central idea of Futurism in 1919].”

Piet Mondrian

Quote, 1919, as cited in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 148
1910's

Idea , Sense , Time , Future

“Modern man - although a unity of body, mind, and soul - exhibits a changed consciousness: every expression of his life has today a different aspect, that is, an aspect more positively abstract.”

Piet Mondrian

1910's, Natural Reality and Abstract Reality', 1919

Life , Soul , Change

“The rhythm of relations of color and size makes the absolute appear in the relativity of time and space.”

Piet Mondrian

1910's, Natural Reality and Abstract Reality', 1919

Color , Appearance , Time

“To show that this end [of art by its dissolution into real life] is only a beginning, it is essential that.... the series of galleries [of the future museum of modern art] be followed by a room in which painting and sculpture will be realized by the interior itself.... demonstrating that what is lost for art is gained for life. This room could therefore be designed for use as a lecture room, a restaurant.... as a bar with an American jazz band.”

Piet Mondrian

Mondrian's reaction on a questionnaire (c. 1931?)
Quote of Mondrian, as cited in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 166
1930's

Life , Art , Future , Painting

“Gradually I became aware [c. 1914-1918] that Cubism did not accept the logical consequences of its own discoveries; it was not developing abstraction towards its ultimate goal: the expression of pure reality.”

Piet Mondrian

1930's

Reality

“These universal means of expression were discovered in modern painting by a logical and gradual progress toward ever more abstract form and color. Once the solution was discovered, there followed the exact representation of relations alone, that is to say, of the essential and fundamental element in any plastic emotion of the beautiful.”

Piet Mondrian

1910's, Natural Reality and Abstract Reality', 1919

Beauty , Color , Universe , Painting

“You can so wonderfully be yourself here”

Piet Mondrian

in Paris
Quote of Mondrian from his postcard to a Dutch girlfriend, Paris 1911 (written in his first week in Paris), by Mondrian's recent biographer Hans Janssen, of the Gemeentemuseum in The Hague; as cited by Alastair Sooke, in 'Mondrian - the Joy of Being Square'; BBC culture, 10 July 2017 http://www.bbc.com/culture/story/20170710-mondrian-the-joy-of-being-square
1910's

“In his later works Doesburg tried to destroy static expression by diagonal position of his lines. But in this way the feeling of physic equilibrium which is necessary to enjoy a work of art is lost.”

Piet Mondrian

Quote in a letter of Mondrian to Sweeney, 24 May 1943; as cited in: - 102 - Two autobiographical texts (24 May 1943) http://mondrianwritings.nl/wp-content/uploads/2017/03/102.-Two-autobiographical-texts-24-May-1943.pdf
This idea was partly the reason of their mutual split in 1924; in 1929 they reconciled in Paris.
1940's

Art , Way , Feeling

“.. the Place de l'Opera [in Paris] gives a better image of the new life than many theories. Its rhythms of opposition, twice repeated in its two directions, realizes a living equilibrium through the exactness of its execution.”

Piet Mondrian

Quote of Mondrian before 1930; as cited in 'The New Art – The New Life', Piet Mondrian, op. cit. Introd. Note 1., 1931
1930's

Life

“[…that the] dwarfes don't have enough time to help me themselves but send squirrels and birds. [referring to artist-friends who had helped him to settle in London.”

Piet Mondrian

1930's

Bird , Time , Help

“We arrive at a portrayal of other things, such as the laws governing matter. These are the great generalities – Which do not change.”

Piet Mondrian

note in Mondrian's sketchbook II, 1912/13; as quoted in Two Mondrian sketchbooks 1912 - 1914, ed. Robert P. Welsh & J. M. Joosten, Amsterdam 1969 op. cit. (note 31), p. 61
1910's

Law , Change

“He [ Jan Toorop, an older and famous Dutch religious painter] sees the Catholic faith as A. Besant, [a British Theosophiste and women's right activiste, then] views it in its primeval period: the Catholic religion as it was originally, is the same as Theosophy, is it not? I remained broadly in agreement with Toorop, and I could tell that he goes to the depths, and that he is searching for the spiritual.”

Piet Mondrian

Quote in Mondrian's letter to Cornelis Spoor, Domburg October 1910; Van Ginneken and Joosten, op. cit. (note 26), pp. 263; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 47
1910's

Women , Faith , Religion , Search

“The balanced relation is the purest representation of universality, of the harmony and unity which are inherent characteristics of the mind.”

Piet Mondrian

1910's, Natural Reality and Abstract Reality', 1919

Universe

“The rectangular plane of varying dimensions and colours visibly demonstrates that internationalism does not mean chaos ruled by monotony but an ordered and clearly divided unity. In Neo-Plasticism, there are, in fact, very definite boundaries. But these boundaries are not really closed; the straight lines in rectangular opposition to one another constantly intersect, so that their rhythm continues throughout the whole work... These frontiers will be clearly defined but not 'closed'; there will be no customs, no work permits. 'Foreigners' will not be viewed as aliens.”

Piet Mondrian

Quote in 'The New Art – The New Life', Piet Mondrian, op. cit. Introd. Note 1., 1931
1930's

“It is of small importance whether De Stijl still exists as a 'group'; a new style was born, a new aesthetic created; it needs only to be understood – and cultivated.”

Piet Mondrian

Quote in: 'L'expression plastique nouvelle dans la peinture', Piet Mondriaan, 'Cahiers d'Art', 1, Paris, 1926, pp. 181-183
1920's

“For the present at least [1909] I shall restrict my work to the ordinary world of the senses, since that is the world in which we still live. But nevertheless art even now form a transition to the finer regions, which perhaps I am incorrect in calling spiritual, for everything that has form is not yet spiritual, as I read somewhere. But it is nonetheless the path of ascension away from matter. Well dear Querido, with many heartfelt wishes, Piet Mondriaan.”

Piet Mondrian

Quote from Mondrian's letter to Israel Querido, Summer of 1909; published in the weekly magazine 'De Controleur' 23 Oct, 1909; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 36
1900's

World , Art , Sense , Reading

“They [Mondrian's friends in Paris, Tonia and Wim Stieltjes] are receptive to the new, although they do not know what it is. Thus I do occasionally feel that my effort has not been in vain. They find the idea of the N. B. [= Dutch: nl:Nieuwe Beelding / Neo Plasticism] sound and quite magnificent, but think that it will be quite a long time before people are ready for it.”

Piet Mondrian

In a letter to Theo van Doesburg, Paris 1920; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 17
1920's

People , Feeling , Idea , Thinking

“And now about architects in general – I have to say it, Does [= Theo van Doesburg ], when 'De Stijl' was founded I left it up to you, but I never did agree with you when you ranked the architects alongside us, alongside our 'N. B.' ( / Neo-Plasticism) I knew then that it would lead to conflict… I cannot write about architecture, because I'm not an architect. I mean, I cannot write about the way I write about painting. Later on, though, I will put forward a few ideas.”

Piet Mondrian

In a letter to Theo van Doesburg, Paris 9 July 1918; as quoted in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 139
1910's

Way , Idea , Painting

“[.. but he had] a record with the music of the dwarfes on it, and quite often play it.”

Piet Mondrian

short quotes, from post-cards to his brother Carel, from London autumn, 1938; as quoted in 'Artist Piet Mondrian in London: the forgotten years', Thomasine, Sweden; The Guardian International https://www.theguardian.com/artanddesign/2010/jun/25/artist-piet-mondrian-london-years
Mondrian's short quotes are referring to the Disney animation-movie 'Snow White and the Seven Dwarfs (1937 film), which he visited early 1938 with his brother Carel. His brother he named in the postcards "Sneezy".
1930's

Music

“However, new plasticism is pure painting [in contrast with the opinion of Theo van Doesburg, then]: the means of expression still are form and color, though these are completely interiorized; the straight line and flat color remain purely pictorial means of expression.”

Piet Mondrian

1910's, Natural Reality and Abstract Reality', 1919

Color , Painting

“That is what we are against [the ancient-Greek ideas about art], because that is the key to the classic and tragic finality from which we must free ourselves.”

Piet Mondrian

Quote of Mondrian c. 1944, in 'Mondrian in New York: a Memoir', by Carl Holty; 'Arts', Sept. 1957, p. 11; as cited in 'The Aesthetics of Piet Mondrian, by Arthur Chandler https://static1.squarespace.com/static/53b9abe9e4b0366641161844/t/577168f69de4bb1f780e3724/1467050265255/The+Aesthetics+of+Piet+Modrian+by+Arthur+Chandler.pdf; California State University, San Francisco; MSS Information Corporation, New York, 1972
1940's

Art , Idea

“You must have heard that last autumn I almost got married, but I am glad I realized in time that it had been an illusion, all those beautiful things. Although I have always lived for art, I am also attracted to the beautiful in life and so I sometimes do things that seem strange for me.”

Piet Mondrian

Quote in an undated letter to Alleta de Jongh, Paris, c. Spring 1912; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 243, note 61
1910's

Life , Beauty , Art , Autumn

“Art on the contrary sought this harmony in practice [of art itself]. More and more in its creations it has given inwardness to that what surrounds us in nature, until, in Neo-Plasticism, nature is no longer dominant. This achievement of balance may prepare the way for the fulfillment of man and signal the end of (what we call) art.”

Piet Mondrian

In a letter to Rudolph Steiner, c. 1921-23; as quoted in Abstract Painting, Michel Seuphor, Dell Publishing Co., 1964, p. 85
1920's

Art , Way , Nature

“It was during this early period of experiment that I first went to Paris. The time was around 1910 when Cubism was in its beginnings. I admired Matisse, Van Dongen and the other Fauves, but I was immediately drawn to the Cubists, especially to Picasso and Léger. Of all the abstractionists (Kandinsky and the Futurists) I felt that only the Cubists had discovered the right path; and, for a time, I was much influenced by them.”

Piet Mondrian

Source: Quote of Mondrian about 1910; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 41

Time

“For when I construct lines and colour combinations on a flat surface, it is with the aim of portraying 'universally beauty' as consciously as possible. Nature (or that which I see) inspires me, provides me – as it does every painter – with the emotion by which I am moved to create something, but I want to approach the truth as closely as possible, abstracting everything until I come to the foundation – still only an outward foundation! – of things. It is for me a clear truth that one does not want to say something 'specific', it is then that one says what is most specific: the truth (which is of great universality).”

Piet Mondrian

Quote in a letter to H. P. Bremmer, Paris 29 January 1914; ; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 81
1910's

Truth , Beauty , Nature , Universe

“Only now [1943] I become conscious that my work in black, white and little color planes has been merely 'drawing' in oil color. In drawing, the lines are the principal means of expressions... In painting, however, the lines are absorbed by the color planes; but the limitations of the planes show themselves as lines and conserve their great value.”

Piet Mondrian

note from his postcard, late May 1943; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 240
1940's

Color , Drawing , Painting

“You write you could never be a Theosophist. Well I suppose I could say the same thing, if you're referring to what most theosophists are. But that does not alter the fact that I believe that the principles of theosophy are true, and that it leads to clarity in one's spiritual development. Which means that we [= Mondrian ànd the catholic painter and his former teacher L. Schelfhout, after their reconciliation] quite agree on this point. Self-awareness is, in my view, of crucial importance to all human beings. I can understand how the Catholic doctrine may lead to vagueness, but Theosophy, which is a spiritual science, can never do so.”

Piet Mondrian

In a letter to Lodewijk Schelfhout, Paris 29 January 1914; as quoted in 'Beeldende Kunst: Opmerkingen over de tentoonstelling van den Modernen Kunstkring.. Der Ploeg (1912)', W. Steenhoff, p. 147
1910's

Understanding , Teachers , Science