{"id":2410,"date":"2021-11-06T20:50:43","date_gmt":"2021-11-06T20:50:43","guid":{"rendered":"http:\/\/meumon.synology.me\/museu\/?p=2410"},"modified":"2026-01-25T18:16:11","modified_gmt":"2026-01-25T18:16:11","slug":"mondrian-piet-1872-1944","status":"publish","type":"post","link":"http:\/\/meumon.synology.me\/museu\/mondrian-piet-1872-1944\/","title":{"rendered":"Mondrian, Piet 1872-1944"},"content":{"rendered":"

obres<\/a><\/p>\n

Neix a Ameersfort el 1872. El seu pare era professor de dibuix. Educaci\u00f3 protestant. Comen\u00e7a a treballar de professor d’escola prim\u00e0ria i alhora pinta paisatges. A partir de 1905 hi ha una progressiva estilitzaci\u00f3 de les formes.<\/p>\n

El 1908 s’interessa per la teosofia divulgada per Blavatsky i s’apunta\u00a0 a la societat holandesa Teos\u00f2fica. Segueix tamb\u00e9 l’antroposofia de Rudolf Steiner. Els dos comparteixen la creen\u00e7a en una realitat espiritual diferent de la naural, accessible per l’estudi i que podria ser compartida per tots els huamns deixant enrera les passions i mis\u00e8ries individuals.<\/p>\n

Despr\u00e9s de veure una exposici\u00f3 cubista les seves obres cada cop estilitzen m\u00e9s les formes [ com buscant la geometria rera el concret, com les formes plat\u00f2niques]. El 1911 se’n va a Paris i coneix les avantguardes.<\/p>\n

El 1914 torna a Holanda i coneix Bart van der Leck i Theo van Doesburg, amb qui coincidir\u00e0 en el cam\u00ed cap a l’abstracci\u00f3. Funda la revista De Stijl on exposar\u00e0 el seu projecte d’una Nova pl\u00e0stica que correspon a la contemplaci\u00f3 d’una realitat universal abstracta.<\/p>\n

En una carta de 1914 a H.P. Bremmer ho descrivia aix\u00ed:<\/p>\n

Construeixo l\u00ednies i combinacions de colors sobre una superf\u00edcie plana, per tal d’expressar la bellesa general amb la m\u00e0xima consci\u00e8ncia.<\/span> La naturalesa (o, all\u00f2 que veig) m’inspira, em posa, com a qualsevol pintor, en un estat emocional de manera que sorgeix l’impuls de fer alguna cosa, per\u00f2 vull apropar-me el m\u00e9s possible a la veritat i abstraure-ho tot.<\/span> aix\u00f2, fins arribar al fonament (encara nom\u00e9s un fonament extern!) de les coses… Crec que \u00e9s possible que, a trav\u00e9s de l\u00ednies horitzontals i verticals constru\u00efdes amb consci\u00e8ncia, per\u00f2 no amb c\u00e0lcul, condu\u00efdes per una alta intu\u00efci\u00f3, i portades a l’harmonia i el ritme. A<\/span>questes formes b\u00e0siques de bellesa, complementades si cal amb altres l\u00ednies directes o corbes, poden esdevenir una obra d’art, tan forta com certa.<\/span><\/span><\/p>\n

El 1917-1918 van apar\u00e8ixer uns assaigs on descrivia el neoplasticisme. I en una carta de 1921 a Steiner escrivia que el neoplasticisme seria “l’art del futur a venir per a tots els aut\u00e8ntics Antrosofistes i Teosofistes”.De 1919-1920 \u00e9s “Natural Reality and Abstract Reality: An Essay in Trialogue Form”.<\/p>\n

[Un di\u00e0leg entre un pintor naturalista, un pintor abstracte i un aficionat a l’art. Un llibre que tenia des de la joventut. Descriu el projecte de l’art abstracte com la tasca de trobar les relacions pures i immutables rera l’aparen\u00e7a de la naturalesa. T\u00e9 un “sabor” que evoca Parm\u00e9nides, Plat\u00f3 i Hegel, buscant l’immutable rera les aparences. Aqu\u00ed l’immutable serien les relacions pures entre l\u00ednies que consisteixen en angles rectes. La vida tal com l’experimentem directament \u00e9s tr\u00e0gica i ens fa patir i sembla haver-hi aqu\u00ed un ress\u00f3 a Schopenhauer. Amb l’esfor\u00e7 de trobar l’immutable far\u00edem com una meditaci\u00f3 que ens allibera del patiment. L’art abstracte, de l\u00ednies i perpendiculars, \u00e9s un cam\u00ed de salvaci\u00f3 i alliberament, i anticipa, en el m\u00f3n de l’art, el que podria despr\u00e9s estendre’s a la vida en general.]<\/p>\n

p.67 L’art antic \u00e9s un art per a nens. La nova pl\u00e0stica vol ser un art per a adults. I aix\u00ed com l’adult \u00e9s un estrany per al nen, l’home nou -aquell per a qui la Nova Pl\u00e0stica existeix, \u00e9s un estrany per a l’art vell.<\/em><\/p>\n

1918-1938 Viu a Paris i consolida els quadres en formes geom\u00e8triques i colors primaris. Mirats de prop, les l\u00ednies negres \u00f3n ra\u00e7ades de manera simple, els rectangles de colors en pinzellades seguint una mateicxa direcci\u00f3, i els blancs, diverses capses seguint diferents direccions. El blanc cada cop tindr\u00e0 un paper m\u00e9s important.<\/p>\n

1938-1944. Amb l’amena\u00e7a del feixime deixa Paria per Londres i despr\u00e9s s’estableix a New York, on crea composicions amb l\u00ednies grogues, com el Broadway Boogie-Woogie. (li agradava el jazz i viatjava amb la seva col\u00b7lecci\u00f3 de discos). Anava a les sales de ball amb Peggy Guggenheim i va con\u00e8ixer Thelonius Monk. Per\u00f2 sembla que no ballava b\u00e9.<\/p>\n

p.85 La pintura de caballet podria desapar\u00e8ixer tant bon punt es traslladi la seva bellesa pl\u00e0stica al voltant nostre mitjant\u00e7ant la divisi\u00f3 de colors a la cambra.\u00a0 … Una pintura \u00e9s massa un objecte, en l’habitaci\u00f3 recorrer\u00edem els diferents plans i despr\u00e9s ens en formar\u00edem una imatge interior. [ d’aqu\u00ed la rellev\u00e0ncia dels seus estudis. Va pintar el terra de negre i les parets i mobles de blanc<\/a> ]<\/p>\n

Galeria<\/a><\/p>\n

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https:\/\/www.phaidon.com\/agenda\/art\/articles\/2017\/march\/07\/piet-mondrian-loved-jazz-but-couldnt-dance\/<\/a><\/div>\n
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Piet Mondrian – loved jazz (but couldn’t dance!)<\/div>\n
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Piet Mondrian who was born on this day (March 7) in 1872 was actually way more sociable than his paintings might lead you to believe. He could often be found tearing up the dance floors of London and New York to his favourite jazz records – often with socialite and collector Peggy Guggenheim and abstract expressionist painter Lee Krasner. Indeed, with the painting below, Broadway Boogie-Woogie, Mondrian set out to depict the rhythm and the energy of his Manhattan whirl.<\/div>\n
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Jazz and painting turned out to be a two way inspiration. In the later stages of his short life, Mondrian became on good terms with the jazz musician Thelonius Monk, and when Monk spoke about his music he often did so by referring to the precision with which Mondrian placed a line or applied a colour to the structure of his paintings.<\/div>\n
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Others however, were somewhat less enamoured: Miriam Gabo, the wife of the Russian sculptor Naum Gabo, once remarked of Mondrian: he \u201cwas a terrible dancer Virginia (Pevsner) hated it and I hated it. We had to take turns dancing with him!”.<\/div>\n
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https:\/\/londonjazznews.com\/2012\/03\/21\/mondrian-and-jazz\/<\/a><\/div>\n
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Mondrian was convinced of the importance of improvisation in the\u00a0 liberation of form, Janssen explained, and when he moved to New York he\u00a0 became a devotee of its jazz scene. In 1940-41 he danced the nights away\u00a0 with the painter Lee Krasner, who was to become Jackson Pollock\u2019s wife\u00a0 in 1945. He was a habitu\u00e9 of Minton\u2019s Playhouse, in Upper Manhattan,\u00a0 where Thelonious Monk would show up around 3am with other musicians\u00a0 after they\u2019d finished playing elsewhere,\u00a0 where he\u2019d experience Monk\u00a0 developing his own style, with its \u2018dissonant harmonies, sluggish\u00a0 tempos, broken chords and disorientation of the listener\u2019 as Janssen put\u00a0 it.<\/div>\n
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Jason Moran i el quadre:<\/div>\n
https:\/\/youtu.be\/05KLW-xsoxE<\/a><\/div>\n<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2022\/10\/03\/the-mysteries-of-mondrian-hans-janssen-piet-mondrian-a-life<\/div>\n
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<\/div>\n","protected":false},"excerpt":{"rendered":"

obres Neix a Ameersfort el 1872. El seu pare era professor de dibuix. Educaci\u00f3 protestant. Comen\u00e7a a treballar de professor d’escola prim\u00e0ria i alhora pinta paisatges. A partir de 1905 hi ha una progressiva estilitzaci\u00f3 de les formes. El 1908 s’interessa per la teosofia divulgada per Blavatsky i s’apunta\u00a0 a la societat holandesa Teos\u00f2fica. Segueix … <\/p>\n

Continue reading “Mondrian, Piet 1872-1944”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[165],"tags":[556,461],"anotacio":[],"civilitzacio":[],"spec":[],"aspecies":[],"Tema poesia":[],"_links":{"self":[{"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/posts\/2410"}],"collection":[{"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/comments?post=2410"}],"version-history":[{"count":0,"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/posts\/2410\/revisions"}],"wp:attachment":[{"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/media?parent=2410"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/categories?post=2410"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/tags?post=2410"},{"taxonomy":"anotacio","embeddable":true,"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/anotacio?post=2410"},{"taxonomy":"civilitzacio","embeddable":true,"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/civilitzacio?post=2410"},{"taxonomy":"spec","embeddable":true,"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/spec?post=2410"},{"taxonomy":"aspecies","embeddable":true,"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/aspecies?post=2410"},{"taxonomy":"Tema poesia","embeddable":true,"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/Tema poesia?post=2410"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}