Piet Mondrian: Trending quotes

Piet Mondrian trending quotes. Read the latest quotes in collection

Piet Mondrian: 190 quotes4 likes

“Though I do, of course agree with the principles you have mentioned, I am returning the paper unsigned, as I do not want to belong to a group. A group of people with one aim is not as yet a single-minded group and as this does not exist, a consistent group remains impossible. And a larger group only makes sense for joint exhibitions and for spreading ideas. I will therefore not participate in the other group either, but I have promised my collaboration in this respect. If you definitely want to form a group, you can always invite myself and others who are proved to be suitable. Only on such a basis I will collaborate with the other group as well.”

Piet Mondrian

Quote of Mondrian, in a letter to Theo van Doesburg, 1930; 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. 30 <br class="br">Van Doesburg had attempted to form a small union of Parisian painters and sculptors who all subscribed to the principles of abstraction, the group was to be called 'Abstraction-création'. A periodical of this group appeared under the title 'Art Concret' <br class="br">1930's

“In Paris, I quickly mastered the Foxtrot, the Shimmy and the One Step, [he liked the Shimmy best:] At first, the heel-toe was sort of tricky. Nowadays, they find ways around it.”

Piet Mondrian

Quote in Mondrian's letter to Theo van Doesburg, undated, c. 1917/18; as cited in 'Mondrian's World: From Primary Colors to the Boogie Woogie Footsteps' by Nina Stegal, 24 MAY, 2017 https://www.nytimes.com/2017/05/24/travel/piet-mondrian-netherlands-abstract-painter-de-stijl-design.html?em_pos=medium&emc=edit_li_20170527&nl=nyt-living&nl_art=1&nlid=78029813&ref=headline&te=1&_r=0 <br class="br">1910's

“.. the universal cannot be expressed purely so long as the particular obstructs the path. Only when this is no longer the case can the universal consciousness (intuition, that is) which is at the origin of all art, be rendered directly, giving birth to a purified art expression.
This, however, cannot appear before its proper time. For it is the spirit of the times that determines artistic expression, which, in turn, reflects the spirit of the times. But at the present moment, that form of art alone is truly alive which expresses our present - or future - consciousness.”

Piet Mondrian

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

“Art is higher than reality and has no direct relation to reality. To approach the spiritual in art, one will make as little use as possible of reality, because reality is opposed to the spiritual. We find ourselves in the presence of an abstract art. Art should be above reality, otherwise it would have no value for man.”

Piet Mondrian

Quote of Mondrian, 1914 from Wikipedia; as cited by Michel Seuphor, in 'Piet Mondrian: Life and Work;Abrams, New York, 1956, p. 117
1910's

“Nature moves me deeply; I paint nature (now) only in a different way..”

Piet Mondrian

Quote of P. Mondrian, 1919-20; as cited in Gedurende een wandeling van buiten naar de stad. Dialoog en Trialoog over de Nieuwe Beelding, ed. H. Henkels; Haags Gemeentemuseum Den Haag 1986, p. 24
1910's

“If, then, we focus our attention on the balanced relation, we shall be able to see unity in natural things. However, there it appears under a veil. But even though we never find unity expressed exactly, we can unify every representation, in other words, the exact representation of unity can be expressed; it must be expressed, for it is not visible in concrete reality.”

Piet Mondrian

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

“Ru-h-ru-h-ru-h-h-h-h. Pooh-ooh-ooh. Tick-tick-tick-tick. Pre. R-r-r-r-r-uh-h. Huh! Bang. Su-su-su-ur. Booh-a-ah. R-r-r-r. Pooh…multitude of sounds, all mixed together. Motorcars, buses, carts, carriages, people, lamp-posts, trees.. all mixed together; in front of cafés, shops, offices, posters, shop windows: multitude of things. Motion and standstills: different movement. Movement in space and movement in time. Multitude of images and all sorts of ideas. Images are veiled truths. All different truths form what is true. What is individual does not display all in a single image.... Ru-ru-ru-u-u. Pre. Images are boundaries. Multitude of images and all sorts of boundaries. Elimination of images and boundaries through all sorts of images. Boundary clouds what is true. Rebus: where is what is true? Boundaries are just as relative as images, as time and space.”

Piet Mondrian

Mondrian's poem has strong connections with 'dynamism' of Futurism
Quote from his article 'The Grand Boulevards', Piet Mondriaan, in Dutch magazine 'De Groene Amsterdammer', 27 March 1920 pp. 4-5
1920's

“Human culture reveals an opposition: diminution of the instinctive faculties and development of the intuitive capacity. A cultivation of instinctive faculties produces human degeneration; a cultivation of intuitive capacities creates human progress.”

Piet Mondrian

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

“I believe that at times such as these my modest efforts may be useful to mankind. I have shown how the new art has succeeded in bringing about pure relationships, and furthermore how these can be created in day-to-day life. [Mondrian tried to convince the Dutch publisher Stols to publish his new manuscript 'L'art et la vie']”

Piet Mondrian

In a letter to A. M. Stols, 26 March 1932; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 222
1930's

“Kandinsky points out [in his book On the Spiritual in Art] that Theosophy (in its true sense; not as it generally appears) is yet another expression of the same spiritual movement which we are now seeing in painting.”

Piet Mondrian

In 'De Nieuwe beelding in de Schilderkunst', Piet Mondriaan, 'De Stijl' No. 1, October 1917, p. 54
1910's

“[Paris, as modern city] is beautiful in its perfection, but perfection means death and decay. Thus interfering with the process of dying is a crime against perfection: it stands in the way of a higher perfection.”

Piet Mondrian

Quote of Mondrian in 'Natuurlijke en abstracte realiteit', Piet Mondriaan, in 'De Stijl' III, 1920, p. 75
1920's

“This new plastic idea will ignore the particulars of appearance, that is to say, natural form and color. On the contrary, it should find its expression in the abstraction of form and color, that is to say, in the straight line and the clearly defined primary color.”

Piet Mondrian

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

“I remained there [in The Netherlands, 1914-18] for the duration of the war, continuing my work of abstraction in a series of church. facades, trees, houses, etc. But I felt that I still worked as an Impressionist and was continuing to express particular feelings, not pure reality. Although I was thoroughly conscious that we can never be absolutely 'objective', I felt that one can become less and less subjective, until the subjective no longer predominates in one's work. More and more I excluded from my painting all curved lines, until finally my compositions consisted only of vertical and horizontal lines which formed crosses, each separate and detached from the other. Observing sea, sky and stars, I sought to indicate their plastic function through a multiplicity crossing verticals and horizontals.”

Piet Mondrian

Source: Quote of Mondrian about 1914-1918; 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. 43

Piet Mondrian

Mondrian tried to convince the Dutch publisher Stols to publish his new manuscript 'L'art et la vie'
In a letter to A. M. Stols, 26 March 1932; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 222
1930's

“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.”

Piet Mondrian

Mondrian refers to André Gide's 'Dada', in 'Nouvelle Revue Francaise', 1 April 1920
As quoted by the editors of 'The New Art – The New Life', op. cit. (Intro., note 1), p. 395, note 8
1920's