PUBLISHER
Hatje Cantz

BOOK FORMAT
Hardcover, 8 x 10 in. / 304 pgs / 126 color / 41 bw.

PUBLISHING STATUS
Pub Date
Out of print

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2011 p. 66   

PRODUCT DETAILS
ISBN 9783775730235 TRADE
List Price: $60.00 CDN $70.00

AVAILABILITY
Not available

EXHIBITION SCHEDULE

Munich, Germany
Städtischen Galerie im Lenbachhaus und Kunstbau, 04/16/11-08/15/11

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Check out our Spring 2019 catalog, featuring more than 500 new books on art & culture. We welcome new publishers Arquine, Atelier Éditions, August Editions, The Design Museum, London, Eakins Press, Editions Patrick Frey, Fulgur Press, Kasmin, Lisson Gallery, Marciano Art Foundation, Marsilio Editori, Onomatopee and Ridinghouse to our list in 2019!

  

HATJE CANTZ

Mondrian De Stijl

Text by Hans Janssen, Franz-W. Kaiser, Matthias Mühling, Felicia Rappe.

Piet Mondrian (1872-1944) emptied Cubism of its representational content, dissembling its angular contours into a few floating horizontal lines and reconstructing it anew as irregular squares of primary color. Mondrian dubbed the abstract style at which he arrived Neoplasticism, a term that eventually became synonymous with De Stijl, the Dutch avant-garde group composed of artists Theo van Doesburg, Bart van der Leck and Vilmos Huszar and the architects Gerrit Rietveld, Robert van 't Hoff and J.J.P. Oud, as well as Mondrian himself. More influential and foundational than any other design ethos of the early twentieth century, De Stijl provided the basis for much of the Bauhaus aesthetic, as well as Concrete art and the architecture of Mies van der Rohe. Collectively, the movement can be said to have translated Mondrian's pure painting into applied design for clothing, furniture (most famously Rietveld's Red and Blue chair), interiors, houses, blocks of flats and even whole towns. This volume looks at the full arc of Mondrian's evolution, from his early works executed in Neoimpressionist and Luminist idioms to his arrival at a pure Neoplastic abstraction, and traces De Stijl's extrapolations of Mondrian's art into a multidisciplinary utopian design project.
Mondrian De Stijl

STATUS: Out of print | 00/00/00

For assistance locating a copy, please see our list of recommended out of print specialists

FROM THE BOOK
"Even the uninitiated can easily grasp Mondrian's direct path to abstraction, simply on the basis of its visual logic. While Mondrian prioritized intuitive working methods and experience in his work, he was fully aware of the rationality inherent in his artistic project. Using the analytic potential of Cubism to dismantle an object's appearance and, as it were, to unfold It onto the planar canvas, he destroyed the traditional illusion of depth and simultaneously restructured the picture surface. These reductionist modes of structuring prefigured in Cubism persisted right into Mondrian's abstract painting. Nine years later, they issued in what he called Neoplasticism. As with Kandinsky, pictorial elements such as line, color, shape, and plane received their own values without having to refer to anything else. Mondrian further subjected them to extreme reduction: only straight vertical or horizontal lines, no diagonals, only primary colors, no non-primary colors as found in nature, and otherwise only the non-colors black, white, and gray. He employed this highly reduced system of pictorial elements as a framework offering little room for variation, rather like a scientific experiment where most of the variables are fixed so that one or two others can be studied. In this sense, one can view Mondrian's Neoplasticism as a sort of laboratory experiment for investigating universal harmony."

Franz-W. Kaiser, excerpted from On 'Meaning' in Abstract Art Mondrian De Stijl.

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