Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"Mondrian created rigorously geometric paintings that are now considered iconic works of modernism. Their characteristic structure of black orthogonal lines forming a grid into which rectangular fields of red, yellow, and blue are set have long come to lead a life of their own in art and fashion, in advertising and popular culture." Helmut Friedel, excerpted from Mondrian and De Stijl: An Exhibition for the Lenbachhaus in Mondrian De Stijl.
Published by Lars Müller Publishers. Edited by Lars Müller. Introduction by Sibylle Hoiman, Astrid Bähr.
Although Piet Mondrian (1872–1944) was not an active member of the Bauhaus, his name is often mentioned in connection with the art school. Mondrian, cofounder of the De Stijl movement in the Netherlands, called for a strict reduction of visual language to orthogonal composition and primary colors, which met with great approval in Bauhaus circles. His rigorous geometric compositions of verticals and horizontals and strident palette of essential colors were important to numerous Bauhaus masters; Mondrian’s influence appeared in Bauhaus architecture, product design, typography, graphic design, painting and beyond. It is therefore not surprising that Mondrian’s essays on art theory, most of them written for the De Stijl journal, were translated into German and published as number five in the Bauhausbücher series.
New Design starts with a philosophical foray into art, which Mondrian describes as a figurative expression of human existence—an expression which will find its natural conclusion in his own concept of a “New Design.” Mondrian then considers the relationship between painting and architecture and dares to take a far-reaching look at the future of Neoplasticism, which he imagines revolutionizing design and architecture around the world.
Harry Holtzman's renowned translations of Mondrian's selected essays appear in New Design as a complete compilation for the first time. The publication is true to the content and design of the German first edition of 1925 and includes a brief scholarly commentary.
Published by Hatje Cantz. 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.