Dutch painter Piet Mondrian.
Tuesday, September 8, 2009
How Does A Real Hymen Look Like
1872-1944 Dutch painter of abstract art that led to its ultimate consequences. Through a radical simplification of composition and color, he sought to expose the basic principles that underlie all appearances. Born in Amersfoort (Netherlands) on March 7, 1872 and originally named Pieter Cornelis Mondriaan. Decided to start the race 
ISTIC art despite opposition from her family and studied at the Academy of Fine Arts of Amsterdam. His early works, through 1907, were calm landscapes painted in delicate grays, mauves and dark greens. In 1908, under the influence of the Dutch painter Jan Toorop, began experimenting with brighter colors, was the starting point of his attempts to transcend nature. He moved to Paris in 1911, where he adopted the Cubist style, producing analytical series such as Trees (1912-1913) and scaffolding (1912-1914). vital for education and career, his early work involved the Dutch landscape tradition and its interest in light effects. In 1907, knowledge of the work of post-impressionist painters completely changed their old notions of color, whose treatment thereafter addressed much more boldly. After looking at the first
s cubist works of Picasso and Braque, in 1912 decided to move to Paris and adapting the precepts of Cubism, interested in reducing the individual forms a general formula. Although his work artistically respected the principles of Cubism, since 1913 saw a clear move towards abstraction, culminating in 1917 with the permanent abandonment of the external reference. 
gradually moved away from seminaturalism abstraction, arriving finally at a style in which he limited himself to paint with fine vertical and horizontal lines. In 1917 junto con su compatri
ota, el pintor Theo van Doesburg fundó la revista De Stijl, en la que Mondrian desarrolló su teoría sobre las nuevas formas artísticas que denominó neoplasticismo. Sostenía que el arte no debía implicarse en la reproducción de imágenes de objetos reales, sino expresar únicamente lo absoluto y universal que se oculta tras la realidad. Rechazaba las cualidades sensoriales de textura, superficie y color y redujo su paleta a los colores primarios. Su creencia de que un lienzo, es decir una superficie plana, sólo debe contener elementos planos, implicaba la eliminación de toda línea curva y admitió únicamente las líneas rectas
y right angles. The application of these theories led to such works as Composition with Red, Yellow and Blue (1921, Gemeentemuseum), in which painting, composed of only a few lines and some well-balanced blocks of color, creates a monumental effect despite the scarcity of means, voluntarily limited his employees. When he moved to New York in 1940, his style became freer and more pace vivo.La World War made him return to the Netherlands, where he met Theo van Doesburg. With him and two other artists (Van der Leck and Huszar), founded the magazine and movement of Stjil, from which advocated the complete rejection of surrounding reality as a reference for the work and the pictorial language reduced to its basic elements. This style, called by Mondrian and Neo himself, sought to achieve real objectivity
freeing the artwork
its dependence on the momentary individual perception and temperament of the artist. abandoned severe black lines in order to juxtapose brightly colored areas, as can be clearly seen in the last work completed left, Broadway Boogie-Woogie (1942-1943, Museum of Modern Art, New York, MOMA). After living several years in Paris and London, in 1940 he moved to New York, where his work was influenced by the dynamism of urban life and the rhythms of American music, both of which involved greater attention to the constructive possibilities of color. Under the influence of the Puritan tradition and the Dutch Theosophical Society, to whom he was in constant contact 
throughout her life, she created a project that extended beyond the pictorial to eventually develop into a company Ethics: the art as a guide to mankind through the purity and clarity. Mondrian was one of the greatest artists of the twentieth-century impact. His theories of abstraction and simplification not only altered the course of painting, but had a profound influence on architecture, industrial design and graphic arts. He died on February 1, 1944 in New York 
gradually moved away from seminaturalism abstraction, arriving finally at a style in which he limited himself to paint with fine vertical and horizontal lines. In 1917 junto con su compatri ota, el pintor Theo van Doesburg fundó la revista De Stijl, en la que Mondrian desarrolló su teoría sobre las nuevas formas artísticas que denominó neoplasticismo. Sostenía que el arte no debía implicarse en la reproducción de imágenes de objetos reales, sino expresar únicamente lo absoluto y universal que se oculta tras la realidad. Rechazaba las cualidades sensoriales de textura, superficie y color y redujo su paleta a los colores primarios. Su creencia de que un lienzo, es decir una superficie plana, sólo debe contener elementos planos, implicaba la eliminación de toda línea curva y admitió únicamente las líneas rectas
y right angles. The application of these theories led to such works as Composition with Red, Yellow and Blue (1921, Gemeentemuseum), in which painting, composed of only a few lines and some well-balanced blocks of color, creates a monumental effect despite the scarcity of means, voluntarily limited his employees. When he moved to New York in 1940, his style became freer and more pace vivo.La World War made him return to the Netherlands, where he met Theo van Doesburg. With him and two other artists (Van der Leck and Huszar), founded the magazine and movement of Stjil, from which advocated the complete rejection of surrounding reality as a reference for the work and the pictorial language reduced to its basic elements. This style, called by Mondrian and Neo himself, sought to achieve real objectivity freeing the artwork
its dependence on the momentary individual perception and temperament of the artist. abandoned severe black lines in order to juxtapose brightly colored areas, as can be clearly seen in the last work completed left, Broadway Boogie-Woogie (1942-1943, Museum of Modern Art, New York, MOMA). After living several years in Paris and London, in 1940 he moved to New York, where his work was influenced by the dynamism of urban life and the rhythms of American music, both of which involved greater attention to the constructive possibilities of color. Under the influence of the Puritan tradition and the Dutch Theosophical Society, to whom he was in constant contact 
throughout her life, she created a project that extended beyond the pictorial to eventually develop into a company Ethics: the art as a guide to mankind through the purity and clarity. Mondrian was one of the greatest artists of the twentieth-century impact. His theories of abstraction and simplification not only altered the course of painting, but had a profound influence on architecture, industrial design and graphic arts. He died on February 1, 1944 in New York 
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