Relevant bibliographies by topics / Piet Mondrian

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Piet Mondrian'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 June 2024

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Journal articles on the topic "Piet Mondrian"

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Veen, Louis. "PIET MONDRIAAN OVER NEOPLASTISCH KUNSTONDERWIJS." De Moderne Tijd 2, no. 2 (January 1, 2018): 135–60. http://dx.doi.org/10.5117/dmt2018.2.003.veen.

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PIET MONDRIAN ON NEOPLASTIC ART EDUCATION Piet Mondrian (1872-1944) was not only a painter, but also a prolific writer. He wrote more than a hundred essays in Dutch, French, and English on the subject of art and society. In three unfinished essays, Mondrian sketches a different art education than was customary at the fine art academies during the interwar period. He describes an education that does not focus on creating discrete art objects, but on designing the entire daily environment. Mondrian’s intention was that graduates who had finished the training would give the society a harmoniously balanced structure, which would ultimately lead to more harmony and peace in man. He believed that a ‘Paradise on Earth’ would be no longer be a dream when all aspects of life were designed according to the neoplastic principles. In order to achieve this, students of Mondrian’s art education had to study the fundamental principles on which Mondrian based his neoplastic paintings. The present article investigates the principles of neoplastic composition as laid out in these three texts, which can help our understanding of the thought and method behind Mondrian’s Neo-Plasticism.
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Morley, Hilda. "For Piet Mondrian." Grand Street, no. 63 (1998): 90. http://dx.doi.org/10.2307/25008260.

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Chai Tze Lo, Cherie, Sone Simatrang, and Eakachat Joneurairatana. "Dynamics of Harmony: A Comparison of Principles between Ikebana and Mondrian’s Neoplasticism." Advances in Economics and Management Research 8, no. 1 (December 7, 2023): 225. http://dx.doi.org/10.56028/aemr.8.1.225.2023.

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The paper Ikebana and Mondrian's Neoplasticism explores the meaning and form of harmony. By integrating the principles of traditional Japanese floral arrangement, Ikebana with the principles of neoplasticism harmony evolves, not as a static state but that of push and pull drawn on the thinking of Piet Mondrian. The discussion sprung from a deeply personal search for harmony through two seemingly contradictory schools of thought and cultures: Japanese flower arrangement and the abstract art of Piet Mondrian. By bending branches and shaping lines, the nature of harmony takes a visceral form. Initially, they appear similar, not in expression but in their absolute stillness. The East seeks harmony through accord, the West through the reconciliation of discord. Yet beneath the surface, Ikebana and Mondrian grapple with a push and pull, searching for concord amidst tensions. I argue that harmony is a dynamic, fluctuating state that is deceptively perceived as a state of stillness.
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Bois, Yve-Alain, and Amy Reiter-McIntosh. "Piet Mondrian, "New York City"." Critical Inquiry 14, no. 2 (January 1988): 244–77. http://dx.doi.org/10.1086/448437.

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Carrier, David. "Piet Mondrian and Sean Scully." Art Journal 50, no. 1 (March 1991): 67–70. http://dx.doi.org/10.1080/00043249.1991.10791427.

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Stevanov, Jasmina, and Johannes M. Zanker. "Exploring Mondrian Compositions in Three-Dimensional Space." Leonardo 53, no. 1 (February 2020): 63–69. http://dx.doi.org/10.1162/leon_a_01583.

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The dogmatic nature of Piet Mondrian’s neoplasticism manifesto initiated a discourse about translating aesthetic ideals from paintings to 3D structures. Mondrian rarely ventured into architectural design, and his unique interior design of “Salon de Madame B … à Dresden” was not executed. The authors discuss physical constraints and perceptual factors that conflict with neoplastic ideals. Using physical and virtual models of the salon, the authors demonstrate challenges with perspective projections and show how such distortions could be minimized in a cylinder. The paradoxical percept elicited by a “reverspective” Mondrian-like space further highlights the essential role of perceptual processes in reaching neoplastic standards of beauty.
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Nevejan, Geneviève. "Piet Mondrian et les Pays-Bas." Vingtième Siècle, revue d'histoire 44, no. 1 (1994): 145–47. http://dx.doi.org/10.3406/xxs.1994.3127.

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Nevejan, Genevieve. "Piet Mondrian et les Pays-Bas." Vingtième Siècle. Revue d'histoire, no. 44 (October 1994): 145. http://dx.doi.org/10.2307/3771273.

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Gontijo, Bruno Henrique Fernandes. "Piet Mondrian e o neoconcretismo brasileiro." Revista de História da Arte e da Cultura 4, no. 2 (December 31, 2023): 104–21. http://dx.doi.org/10.20396/rhac.v4i2.18306.

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Este artigo parte da correspondência “imaginária” de Lygia Clark (1920-1988) ao pintor holandês Piet Mondrian (1872-1944) para discutir a consolidação de um discurso constantemente reiterado pela crítica de arte brasileira em relação Neoconcretismo brasileiro. A pesquisa procura entender como a crítica de arte de Mário Pedrosa (1900-1981) e, principalmente, os artigos publicados por Ferreira Gullar (1930-2016) no Suplemento Dominical do Jornal do Brasil (SDJB), entre os anos de 1956 e 1961, corroboraram para estruturar uma versão da história que pleiteia ao movimento brasileiro uma sucessão, mas também superação das vanguardas europeias e seus artistas.
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Nevejan, Geneviève. "Piet Mondrian et les Pays-Bas." Vingtième Siècle. Revue d'histoire 44, no. 4 (October 1, 1994): 145–47. http://dx.doi.org/10.3917/ving.p1994.44n1.0145.

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Dissertations / Theses on the topic "Piet Mondrian"

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Prange, Regine. "Das ikonoklastische Bild Piet Mondrian und die Selbstkritik der Kunst." Paderborn München Fink, 1998. http://deposit.ddb.de/cgi-bin/dokserv?id=2633970&prov=M&dok_var=1&dok_ext=htm.

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Vasconcelos, Raíra Costa Maia de. "Augusto de campos e mondrian: um diálogo intersemiótico." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/9292.

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This work aims at establishing dialogues between Augusto de Campos’ poetry and Piet Mondrian’s painting. Grounded in Russian School of Semiotics, we will show the poetic journey of the first one and the creative trajectory of the second one, in order to highlight some aesthetic convergence between them. The peculiarities of each artist and each of their studied works will be described based on Semiotics studies mentioned above. So, understanding the culture as aggregator tissue of symbolic systems is essential for the construction of our analysis, since it supports the arguments that aim at converging together two artists distant in time and space. Brazilian poetry and European painting will be presented in the chapter of analysis through four sections that already highlight evidences of dialogue in their works. The modern deconstruction view of the text and of the vanguard vitality will be perceived as confluent points and strong tension issues in each section of this investigation. Observing the poetic work in painting and the pictorial behavior in poetry directs the paths we pursue in this study
Com o presente trabalho, temos o objetivo de traçar diálogos entre a poesia de Augusto de Campos e a pintura de Piet Mondrian. Embasados em preceitos da Semiótica da Cultura, de extração russa, traçaremos o percurso poético deste poeta paulista, bem como a trajetória criativa do pintor holandês, a fim de apontar os pontos de comunhão de perspectiva e de confluência de pensamento estético, sem esquecer de garantir as peculiaridades de cada obra e de cada artista. Entender, portanto, a cultura enquanto tecido agregador de sistemas simbólicos é primordial para a construção de nossas análises, na medida em que sustenta as argumentações que visam confluir dois artistas distantes entre si no tempo e no espaço. A poesia brasileira e a pintura europeia serão apresentadas em nosso capítulo de análise por meio de quatro seções que já apontam indícios de diálogos das obras. Partindo dos conceitos de moldura e de revisão de tradição, chegaremos à visão de desconstrução do texto e de vitalidade das vanguardas como pontos confluentes e de forte tensão em cada seção de nossas investigações. Observar o trabalho poético na pintura e o comportamento pictural na poesia rege os caminhos por nós perseguidos neste estudo.
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HOLCK, ANA. "RHYTHM AND CHAOS: URBAN TEMPORALITIES IN THE WORKS OF PIET MONDRIAN AND RICHARD SERRA." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4358@1.

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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
As obras de Piet Mondrian e Richard Serra possuem profunda relação com a metrópole. Seus trabalhos abrangeram distintas temporalidades urbanas no decorrer do século XX, e foram permeados direta e indiretamente pela música e pela dança, artes temporais igualmente circunscritas ao fenômeno urbano. Mondrian identifica no ambiente moderno, dinâmico e veloz, da Paris da primeira metade do século XX, as premissas de sua teoria oplástica do equilíbrio universal. Procurava realizar sua teoria em outras artes além da pintura, de modo que ao integrar-se à vida, a arte desapareceria. Sua chegada a América coincide com a transferência do centro artístico mundial de Paris para Nova York. No rico embate entre Europa e América, percebemos as diferenças entre a monumental escala do Novo Continente e a permanente atividade de seu povo, em contraposição às dimensões tímidas e o temperamento contemplativo do homem do Velho Continente. Hoje, a mecanização das metrópoles já não é mais polêmica ou fascinante, mas responsável pela monótona e repetitiva vida urbana da qual partiu a obra dos Pós-Minimalistas, entre os quais, Richard Serra. O caráter utópico da intura de Mondrian, cuja virtualidade se queria transformadora da realidade, visando a sociedade madura exemplificada pela América, está ausente na arte do pós- guerra. Os planos inseridos por Serra no tecido urbano não querem su-cumbir ao colapso do grid cubista, buscam o embate literal entre o habitante da metrópole e as coisas que o cercam, num mundo já muito pouco palpável.
The works of Piet Mondrian and Richard Serra are profoundly related to the metropolis. Their works embrace different urban temporalities elapsed in the twentieth century. They were directly and indirectly influenced by music and dance, temporal arts equally confined to the urban phenomenon. Mondrian identifies the universal balance premises of his neoplastic theory in the modern, dynamic and fast Parisian environment of the first half of the twentieth century. He tries to accomplish his theory in other arts besides painting, so that by integrating art in life, the former would disappear. His arrival in America coincides with the artistic world center move from Paris to New York. In the cultural clash between Europe and America, one realizes the differences between the New World`s monumental scale and its dynamic people, against the shy dimensions and contemplative nature of the men in the Old Continent. The metropolis` mechanization is no longer polemic or fascinating, but responsible for the monotonous and repetitive urban life, from which the Post-Minimalists emerged, among them Serra. The utopian character of Mondrian`s painting, whose virtuality intended to transform reality, like America`s ripe society example, is absent in post-war art. The planes inserted by Serra in the urban fabric don`t intend to succumb to the cubist grid`s collapse. They seek the literal clash between the metropolis citizen and what surrounds him, in a very little tangible world.
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Diener, Michael. "Das Ambivalente in der Kunst Leonardos, Monets und Mondrians /." St. Ingbert : Röhrig Universitätsverlag, 2002. http://catalogue.bnf.fr/ark:/12148/cb39118589w.

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Chang, Chinhong Lim. "Unveil the Veiled: An Interdisciplinary Study of Aesthetic Ideas in the Works of Piet Mondrian and Samuel Beckett." Ohio : Ohio University, 2003. http://www.ohiolink.edu/etd/view.cgi?ohiou1056724937.

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Santos, de Oliveira Fábio José. "A curvatura das retas e a linearidade das curvas : um estudo comparado entre João Cabral, Piet Mondrian e Joan Miró." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080033.

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Notre thèse vise à étudier comparativement le rapport esthétique entre le poète brésilien JoãoCabral de Melo Neto (1920-1999), le peintre hollandais Piet Mondrian (1872-1944) et lepeintre catalan Joan Miró (1893-1983). On connaît la proximité de João Cabral aux Arts, ycompris son intérêt à l’arrangement esthétique soutenu par certains artistes (du Baroque à laModernité). Cette façon d’agir lui assurait une méthode de travail : en parlant d’un artiste, desa compréhension du monde et de son esthétique, João Cabral les intégrait aussi dans sapropre poésie. En effet, il n’est pas aléatoire qu’il ait produit des poèmes où les noms de PietMondrian et Joan Miró apparaissent. D’ailleurs, en 1950, João Cabral a publié un textecritique sur l’oeuvre de ce peintre catalan, dont le titre est Joan Miró. Pour tout cela, nouscherchons dans notre étude de doctorat à vérifier les procédés esthétiques soutenus par PietMondrian et Joan Miró que l’on pourrait classifier comme semblables à ceux utilisés par JoãoCabral de Melo Neto dans sa poésie
Our research aims to study the work of the Brazilian writer João Cabral de Melo Neto incomparison to some paintings of the Dutch painter Piet Mondrian and of the Catalan painterJoan Miró. By means of the discussion about both the creative model of the two painters andwhat João Cabral focuses aesthetically on them, we try to comprehend how these aestheticprinciples are literarily debated by the poet and how they would characterize or wouldn’t hispoetic. For this reason, we have selected the Poet’s initial phase, mainly the books Psicologiada Composição [Psychology of the Composition] and Uma faca só lâmina [One knife that isnothing but blade]. By the study of these two books, we can observe that João Cabral’s poetry is not only architected out of the object (in a model of depuration) but also out of the image(in a model of reconfiguration). In the first case, we see proximity between João Cabral’saesthetics and Mondrian’s one, and in the second case we see proximity between JoãoCabral’s aesthetics and Miró’s one
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Oliveira, Fábio José Santos de. "A curvatura das retas e a linearidade das curvas: um estudo comparado entre João Cabral, Piet Mondrian e Joan Miró." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-22122015-102347/.

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Nossa pesquisa tem por enfoque o estudo da poética de João Cabral de Melo Neto (1920- 1999) comparativamente a obras dos pintores Piet Mondrian (1872-1944) e Joan Miró (1893- 1983). Tentamos entender, através do perfil criador dos dois pintores e também daquilo que o poeta destacava esteticamente neles, o quanto tais preceitos estéticos são literariamente discutidos na obra cabralina e o quanto (e como) eles caracterizariam ou não a poética desse escritor pernambucano. Para tanto, escolhemos a fase inicial do poeta, dando preferência aos livros Psicologia da Composição e Uma faca só lâmina. Com o estudo dessas obras e daquilo que de forma esparsa está presente também em outros livros, alcançamos, por exemplo e grosso modo, que a poesia de João Cabral, destacadamente arquitetada no amparo do objeto (num perfil de depuração), apresenta ainda com relevo o trabalho com a imagem (num perfil de reconfiguração). No primeiro caso, enxergamos uma proximidade à estética de Mondrian; no segundo, à de Joan Miró. Por fim, verificamos como a poesia de Cabral, aparentemente apenas rígida, é destacada também por certas dinâmicas que lhe rompem a rigidez.
Our research aims to study the work of the Brazilian writer João Cabral de Melo Neto in comparison to some paintings of the Dutch painter Piet Mondrian and of the Catalan painter Joan Miró. By means of the discussion about both the creative model of the two painters and what João Cabral focuses aesthetically on them, we try to comprehend how these aesthetic principles are literarily debated by the poet and how they would characterize or wouldnt his poetic. For this reason, we have selected the Poets initial phase, mainly the books Psicologia da Composição [Psychology of the Composition] and Uma faca só lâmina [One knife that is nothing but blade]. By the study of these two books, we can observe that João Cabrals poetry is not only architected out of the object (in a model of depuration) but also out of the image (in a model of reconfiguration). In the first case, we see proximity between João Cabrals aesthetics and Mondrians one, and in the second case we see proximity between João Cabrals aesthetics and Mirós one.
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Santos, de Oliveira Fábio José. "A curvatura das retas e a linearidade das curvas : um estudo comparado entre João Cabral, Piet Mondrian e Joan Miró." Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080033.

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Notre thèse vise à étudier comparativement le rapport esthétique entre le poète brésilien JoãoCabral de Melo Neto (1920-1999), le peintre hollandais Piet Mondrian (1872-1944) et lepeintre catalan Joan Miró (1893-1983). On connaît la proximité de João Cabral aux Arts, ycompris son intérêt à l’arrangement esthétique soutenu par certains artistes (du Baroque à laModernité). Cette façon d’agir lui assurait une méthode de travail : en parlant d’un artiste, desa compréhension du monde et de son esthétique, João Cabral les intégrait aussi dans sapropre poésie. En effet, il n’est pas aléatoire qu’il ait produit des poèmes où les noms de PietMondrian et Joan Miró apparaissent. D’ailleurs, en 1950, João Cabral a publié un textecritique sur l’oeuvre de ce peintre catalan, dont le titre est Joan Miró. Pour tout cela, nouscherchons dans notre étude de doctorat à vérifier les procédés esthétiques soutenus par PietMondrian et Joan Miró que l’on pourrait classifier comme semblables à ceux utilisés par JoãoCabral de Melo Neto dans sa poésie
Our research aims to study the work of the Brazilian writer João Cabral de Melo Neto incomparison to some paintings of the Dutch painter Piet Mondrian and of the Catalan painterJoan Miró. By means of the discussion about both the creative model of the two painters andwhat João Cabral focuses aesthetically on them, we try to comprehend how these aestheticprinciples are literarily debated by the poet and how they would characterize or wouldn’t hispoetic. For this reason, we have selected the Poet’s initial phase, mainly the books Psicologiada Composição [Psychology of the Composition] and Uma faca só lâmina [One knife that isnothing but blade]. By the study of these two books, we can observe that João Cabral’s poetry is not only architected out of the object (in a model of depuration) but also out of the image(in a model of reconfiguration). In the first case, we see proximity between João Cabral’saesthetics and Mondrian’s one, and in the second case we see proximity between JoãoCabral’s aesthetics and Miró’s one
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Suescun, Pozas María del Carmen. "Lygia Clark and the European tradition : tracing the appearance of a different space." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26761.

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For almost 35 years the work carried out by the Brazilian artist Lygia Clark between the 1950s and until her death, in 1988, has attracted the attention of both Brazilian and European scholars and critics. Since special attention has only been given to her post-1969 work, the work carried out until 1969 has been overlooked. In particular, I would argue that through the incorporation of the human body Clark's 1959-1964 Bicho series is the first spatial performative strategy developed by Clark during the 1960s and against which all her subsequent production needs to be read.
The present essay is thus an attempt to read as spatial performative strategies Clark's Bicho series with and against the Brazilian reception of Mondrian, reception which, as I would argue has been overlooked in the context of her work. Furthermore, I would argue that in order for us to better understand how the Bicho series unfold as spatial performative strategies the Brazilian reception of Mondrian must be approached through the Brazilian reception of Merleau-Ponty's phenomenology and political and cultural movements of the time. While the role played by Merleau-Ponty's incorporation of the human body in Clark's work has not been closely examined, Clark's engagement with the political and cultural movements of her time has been underestimated. I would argue that any attempt to give an account of Clark's practice needs to take into consideration the role these three aspects played in her engagement with the problem of representation.
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Faxedas, M. Lluïsa (Maria Lluïsa). "Del Simbolisme a l'abstracció: l'ideal de la unitat de les arts en l'obra de Kandinsky i Mondrian, 1886-1936." Doctoral thesis, Universitat de Girona, 2007. http://hdl.handle.net/10803/7848.

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Aquesta tesi explora els orígens de la pintura abstracta des d'un punt de vista eminentment conceptual. Parteix de la hipòtesi que l'abstracció es pot considerar la culminació dels ideals estètics del Simbolisme finisecular; i considera que un dels elements de continuïtat entre Simbolisme i abstracció fou l'ideal de l'obra d'art total o Gesamtkunstwerk. La tesi estudia els pintors Vassily Kandinsky i Piet Mondrian per mostrar, a través de l'anàlisi de les seves obres i textos, que aquest ideal d'obra total fou per ambdós un leit-motiv fonamental en la seva evolució vers l'abstracció. En el cas de Kandinsky s'estudien especialment les seves composicions escèniques, i en el cas de Mondrian, l'arranjament del seu estudi, projectes en el marc dels quals es va desenvolupar la seva pintura. En ambdós casos, com també en el Simbolisme, el projecte de l'obra d'art total es considera tant des de la vessant artística, com en relació al seu valor utòpic.
This thesis explores the origins of abstract painting from a predominantly conceptual point of view. It begins with the hypothesis that abstraction may be considered as the culmination of the aesthetic ideals of turn of the century Symbolism, and considers that one of the elements of continuity between Symbolism and abstraction was the ideal of the total work of art, or Gesamtkunstwerk. The thesis studies the painters Wassily Kandinsky and Piet Mondrian to show, through analysis of their works and texts, that this idea of the complete artwork was a fundamental leitmotif for both artists in their evolution towards abstraction. In the case of Kandinsky, it studies in particular his scenic compositions and, in the case of Mondrian, the layout of his studio, the framework within which their painting was developed. In both cases, as in Symbolism, the project of the total work of art is considered as much from the artistic viewpoint as in relation to its utopian value.
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Books on the topic "Piet Mondrian"

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Rembert, Virginia. Piet Mondrian. New York: Parkstone Press USA Ltd., 2015.

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vy, Bernard-Henri Le. Piet Mondrian. Paris: Editions de la différence, 1992.

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Seuphor, Michel. Piet Mondrian. [Paris]: Libr. Séguier, 1987.

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Mondrian, Piet. Piet Mondrian. Tampere: Sara Hildén Art Museum, 1996.

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C, Jaffé Hans Ludwig, ed. Piet Mondrian. New York: Abrams, 1985.

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Mondrian, Piet. Piet Mondrian: Catalogue raisonné. New York: Harry N. Abrams, 1998.

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Piet Mondrian: Il chiaroveggente. Roma: Europa Edizioni, 2016.

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Joosten, Joop M. Piet Mondrian: Catalogue raisonné. London: Harry N. Abrams, 1998.

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1872-1944, Mondrian Piet, Bois Yve Alain, Haags Gemeentemuseum, National Gallery of Art (U.S.), and Museum of Modern Art (New York, N.Y.), eds. Piet Mondrian, 1872-1944. Boston: Bulfinch Press, 1995.

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Mondrian, Piet. Piet Mondrian, 1872-1944. [Milan]: Leonardo arte, in association with the National Gallery of Art [and] the Museum of Modern Art, New York, 1994.

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Book chapters on the topic "Piet Mondrian"

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Deicher, Susanne. "Mondrian, Piet." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_16018-1.

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Deicher, Susanne. "Mondrian, Piet: De neuwe beelding in de schilderkunst." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_16019-1.

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Raven, Laura E., Madeleine Bisschoff, Margje Leeuwestein, Muriel Geldof, Joen J. Hermans, Maartje Stols-Witlox, and Katrien Keune. "Delamination Due to Zinc Soap Formation in an Oil Painting by Piet Mondrian (1872–1944)." In Metal Soaps in Art, 343–58. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-90617-1_20.

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Hamilton, James W. "Piet Mondrian." In A Psychoanalytic Approach to Visual Artists, 41–70. Routledge, 2018. http://dx.doi.org/10.4324/9780429471452-3.

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"piet mondrian." In B Jenkins, 53. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822392675-037.

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"Piet Mondrian." In B Jenkins, 53. Duke University Press, 2010. http://dx.doi.org/10.1215/9780822392675-037.

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"piet mondrian." In B Jenkins, 53. Duke University Press, 2010. http://dx.doi.org/10.2307/j.ctv11315fs.39.

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Laganà, Annalisa. "Dopo Piet Mondrian (1956)." In Mondrian 1956, 74–114. Quodlibet, 2022. http://dx.doi.org/10.2307/j.ctv2gvdn88.7.

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"Studi di Carlo Scarpa per Piet Mondrian (1956)." In Mondrian 1956, 169–78. Quodlibet, 2022. http://dx.doi.org/10.2307/j.ctv2gvdn88.12.

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"9. Frederick Kiesler and Piet Mondrian." In Frederick Kiesler: Face to Face with the Avant-Garde, 165–76. Birkhäuser, 2019. http://dx.doi.org/10.1515/9783035615418-011.

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Conference papers on the topic "Piet Mondrian"

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Almeida, Diogo Vieira de. "Do quadro-objeto cubista ao não-objeto neoconcretista: uma análise a partir das leituras de Ferreira Gullar e Mário Pedrosa." In Encontro de História da Arte. Universidade Estadual de Campinas, 2011. http://dx.doi.org/10.20396/eha.7.2011.4079.

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Desde o início do século XX, o campo das artes visuais se via em uma busca pela construção de um novo espaço de representação, que com o esgotamento da linguagem impressionista, tinha no cubismo um precursor, porém, seu sentido revolucionário e as experiências pictóricas cubistas só seriam retomadas com o movimento De Stijl, mas especificamente com a obra de Piet Mondrian.
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Andrzejewski, David, David G. Stork, Xiaojin Zhu, and Ron Spronk. "Inferring compositional style in the neo-plastic paintings of Piet Mondrian by machine learning." In IS&T/SPIE Electronic Imaging, edited by David G. Stork, Jim Coddington, and Anna Bentkowska-Kafel. SPIE, 2010. http://dx.doi.org/10.1117/12.840558.

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Stigger, Veronica. "Do mito ao rito: novas-velhas categorias para a compreensão da arte moderna." In Encontro da História da Arte. Universidade Estadual de Campinas, 2006. http://dx.doi.org/10.20396/eha.2.2006.3949.

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O objetivo desta comunicação é apresentar um resumo de minhas pesquisas sobre a retomada e a renovação das relações entre arte, mito e rito na modernidade. A hipótese central é de que o mito e o rito podem ser entendidos como princípios formais de certa arte das primeiras décadas do século XX – e que, portanto, podem servir também como princípios intelectivos para a crítica desta arte. Para tal, examina-se o que se denomina “dimensão mítica” nas obras de Piet Mondrian e o que se nomeia “dimensão ritual” na Merzbau de Kurt Schwitters.
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Soares, Liliana, and Ermanno Aparo. "The Concept of Tantra as Meta-Design to Create Sustainability." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001422.

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This article is an ongoing research and takes Tantra (Saraswati, 1981) to present an academic project that refers to the expansion of knowledge, understanding the body of an object through as a supreme shelter link. On the one hand, the female element represents the a whole as the beginning of everything and the supreme power of creation. On the other hand, the male element is associated with transcendence.Similar to designing, from the perspective of tantrism, the union of the two energies - feminine and masculine – is crucial and for this reason, the care of the object's body is essential.Phenomenologically, as Feuerstein (2005) states the tantric point of view does not deny the world of experiences, but views positively the culture of potential intrinsic psychophysical body and mind. This thesis comprises not only time and space, but also the external factors that cross-fertilize reality and, for this reason, enter into design process. In this sense, objects’ body is full of organs, but visible only to designers, requiring guidance from a master.In art, in early 20th century, there were similarities between the abstractions of Paul Klee, Piet Mondrian or Robert Delaunay. After that, Neo Tantrism emerged in the 1960s with the indian artist K. C.S. Paniker (1911-1977).In design, it seems Tantra contest divisions between opposites by teaching that everything is respected and incorporated, which includes the concept of marginal in society. For instance, Bauhaus (Germany, 20’s), Memphis (Italy, 60’s), Droog Design (Netherlands, 90’s) seem to represent it, as this is more about change in the world, via the body, rather than transcendence of it. In design Tantra can be understood as a moment of reflection on the nature of design and an occasion to continually think and get to know design, for instance, a process-oriented process. A reality that enhances scenario hypotheses, but without reaching a productive result.This ongoing research is non-interventionist and interventionist. The non-interventionist phase consists of the analysis and interpretation of concepts, contents from the past as well as visual imagery of Tantra. The interventionist phase resides on a pilot project.Thus, thinking about method in design means thinking about a phenomenological process such as interpretation. A path that is inductive like self-production, deductive like engineering, abductive intelligently linking hypotheses through experience, and also intuitive, imaginative, inventing, telling the story of material culture in another way. An alternative that needs to die and to live again, a process that, between analysis, intuition and experience, appeals to the dialectical reflection of design as an interlocutor between the individual and material culture in order to create sustainability.
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