Mondrian Paintings

Mondrian’s ultimate artistic philosophy was an attempt at attaining universality through the particular. His paintings translate a specific line, a localized idea into a universal theme, accessible to all. He pursued the inner workings of the natural landscape; the essence of the trees and not the color or realistic shape of them. While Cubism appealed to Piet Mondrian and helped

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Preserving The Victory

Piet Mondrian’s final work prior to his death in New York in February of 1944 was Victory Boogie Woogie (1942-1944), a continuation of the shimmering small abstract geometrics that he had first displayed in Broadway Boogie Woogie (1942-1943), with both works now considered to be the culmination of his artistic aesthetic. The oil on paper and canvas work was left unfinished at the time of his death and since 1998 the 4½ feet by 4½ feet painting has been part of the collection at the Gemeentemuseum in The Hague, having been purchased for 80 million gilders (approximately $46 million) from the collection of American collector Samuel Irving Newhouse.

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Mondrian And Cubism

For Piet Mondrian his foray into Cubism coincided with his first period as a resident in Paris. Prior to 1911 Mondrian had lived in the Netherlands alone, being born in Amersfoort in 1872, growing up in Winterswijk and undergoing almost all of his artistic training in Amsterdam. The bold brush work of Vincent Van Gogh, the Pointillism of George Seurat, the Fauvism of Henri Matisse and various degrees of abstraction are visible in early work he created in the Netherlands - it would be here that he would forge the life long links between his spiritual beliefs and the art that he created, in part through his involvement with the Dutch branch of the Theosophical Society. Although he wouldn’t create Cubist work until he was in Paris, a Moderne Kunstkring exhibition in Amsterdam in 1911 opened his eyes to the Cubist movement that Pablo Picasso and George Braque had been pioneering while resident in the Montmartre district of Paris.

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