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Frases de Piet Mondrian
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Pieter Cornelis Mondrian, geralmente conhecido por Piet Mondrian foi um pintor neerlandês modernista. Criou o movimento artístico neoplasticismo e colaborou com a revista De Stijl e depois com as formas da pintura concreta. Wikipedia  

✵ 7. Março 1872 – 1. Fevereiro 1944
Piet Mondrian photo
Piet Mondrian: 95   citações 0   Curtidas

Piet Mondrian: Frases em inglês

“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.”

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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

“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.”

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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

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

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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

“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.”

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Piet Mondrian

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

“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.”

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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

“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.”

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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

“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.”

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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

“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.”

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Piet Mondrian

Fonte: 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

“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).”

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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

“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.”

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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

“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.”

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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

“I very much like Arp's things. I consider him the only 'pure' artist after Neo/Plasticism.”

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Piet Mondrian

In a letter to his friend architect Alfred Roth, 19 November 1931; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 204
1930's

“Masculine and feminime, vertical and horizontal.”

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Piet Mondrian

Quote, written note beneath a drawing in Mondrian's sketchbook, 1910/11; as cited in: Abstract Painting, Michel Seuphor, Dell Publishing Co.,1964, p. 11
1910's

“It is clear to me that this [his recent works and ideas on art] is art for the future. Futurism, although it has advanced beyond naturalism, occupies itself too much with human sensations. Cubism – which in its content is still too much concerned with earlier aesthetic products, and thus less rooted in its own time than Futurism – Cubism has taken a giant step in the direction of abstraction, and is in this respect of its own time and of the future. Thus in its content it is not modern, but in its effect it is.”

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Piet Mondrian

In a letter to H. P. Bremmer (Dutch art-critic and buyer of his paintings), Paris 29 January 1914; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 75
1910's

“Having red several of your books, I wonder if you [ Rudolf Steiner, the German founder of anthroposophy] could find the time to read my brochure 'Le Néo-Plasticisme', which I am closing. I believe that Neo-Plasticism is the art of the foreseeable future for all true anthroposophists and theosophists. Neo-Plasticism creates harmony through the equivalence of the two extremes: the universal and the individual. The former by 'revelation', the latter by 'deduction'... It was impossible to bring about an equilibrium of relationships other than by destroying the 'form', and replacing it by a new 'universal' expressive means.”

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Piet Mondrian

Quote from 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

“the Cubists in Paris made me see that there was also a possibility of suppressing the natural aspect of form. I continued my research by abstracting the form and purifying the colour more and more. While working, I arrived at suppressing the closed effect of abstract form, expressing myself exclusively by means of the straight line in rectangular opposition; thus by rectangular planes of colour with white, grey and black. At that time, I encountered artists with approximately the same spirit, First Van der Leck, who, though still figurative, painted in compact planes of pure colour. My more or less cubist technique - in consequence still more or less picturesque - underwent the influence of his exact technique. Shortly afterwards I had the pleasure of making the acquaintance of Van Doesburg. Full of vitality and zeal for the already international movement that was called 'abstract', and most sincerely appreciative of my work, he came to ask me to collaborate in a review he intended to publish, and which he [Theo van Doesburg] was to call 'De Stijl.”

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Piet Mondrian

I was happy with an opportunity to publish my ideas on art, which I was engaged in writing down: I saw the possibility of contacts with similar efforts.
Quote of Mondrian c 1931, in 'De Stijl' (last number), p. 48; 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, pp. 44-45
published in the memorial number of 'De Stijl', after the death of Theo Van Doesburg in 1931
1930's

“When I first saw the work of the Impressionists, Van Gogh, Van Dongen and the Fauves, I admired it. But I had to seek the true way alone.”

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Piet Mondrian

Fonte: Quote of Mondrian about his 1890' years; 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

“[.. how the] landlord has had my room cleaned by Snow White and the squirrel has whitewashed the walls with his tail [signed:] - "Sleepy."”

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Piet Mondrian

1930's

“[I am searching] pure expression of that incomprehensible power, which works universally.”

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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. 28
1910's

“A form must be of its own time if it is to be recognized: one cannot relate to what one is not or does not have – Thus all that is of the past is to be rejected.”

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Piet Mondrian

quote in one of Mondrian's Paris' sketchbooks; as cited in Two Mondrian sketchbooks 1912 - 1914, ed. Robert P. Welsh & J. M. Joosten, Amsterdam 1969 op. cit. (note 31), p. 44
1910's

“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.”

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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
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'
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.”

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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
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.”

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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.”

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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..”

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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.”

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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.”

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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.”

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Piet Mondrian

Fonte: 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']”

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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.”

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Piet Mondrian

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