Piet Mondrian Quotes
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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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I came to the destruction of volume by the use of the plane. This I accomplished by means of lines cutting the planes. But still, the plane remained too intact. So I came to making only lines and brought the colour within the lines. Now the only problem was to destroy these lines also through mutual oppositions.
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The surface of things gives enjoyment, their interiority gives life.
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All that is base in the masses is temporary, no doubt serving only to prevent evolution (that of the elite, as well) from proceeding too quickly and thus not becoming 'reality.'
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Only conscious man can mirror the universal: he can consciously become one with the universal and so can consciously transcend the individual.
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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.
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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.
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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.
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..the elements of form have a particular aspect; every fragment, every plane, every line has its proper character.
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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.
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Nature moves me deeply; I paint nature (now) only in a different way..
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Just as pure abstract art is not dogmatic, neither is it decorative.
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Non-figurative art is created by establishing a dynamic rhythm of determinate mutual relations which excludes the formation of any particular form.
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The position of the artist if humble. He is essentially a channel.
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Intuition enlightens and so links up with pure thought. They together become an intelligence which is not simply of the brain, which does not calculate, but feels and thinks.
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True Boogie-Woogie I conceive as homogeneous in intention with mine in painting: destruction of melody, which is the equivalent of destruction of natural appearance, and construction through the continuous opposition of pure means - dynamic rhythm.
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I very much like Arp's things. I consider him the only 'pure' artist after Neo/Plasticism.
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Well, I think my paintings are fast enough already...
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Reality only appears to us tragical because of the disequilibrium and confusion of its appearances.
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Dear Does = Theo van Doesburg , thank you for your letter.. .I was glad to know that in principle you are in favour of the diamond hanging Mondrian's painting, he made in 1919, hanging in a rhombus and I think that in practice you will approve of this method for some of my things. You look at the thing painting itself, and not only the outward appearance..
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I do not know how I shall develop, but for the present, I am continuing to work within ordinary, generally known terrain, different only because of a deep substratum, which leads those who are receptive to sense the finer regions.
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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.
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Environment, education, experience, make men conscious of passing reality but overwhelm their intuitive capacity when this is not very strong.
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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.