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Journal articles on the topic 'Piet Mondrian'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 June 2024

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1

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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2

Morley, Hilda. "For Piet Mondrian." Grand Street, no. 63 (1998): 90. http://dx.doi.org/10.2307/25008260.

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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Dickerman, Leah. "Mondrian's Boogie Woogie." October, no. 185 (2023): 118–38. http://dx.doi.org/10.1162/octo_a_00496.

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Abstract This essay looks at Piet Mondrian's Broadway Boogie Woogie (1942-43), one of the most iconic paintings in the collection of the Museum of Modern Art since it was acquired in 1943, offering a counterpoint to persistent readings that fundamentally position the work within a narrative of the European avant-garde. In a story that is both familiar and new, this essay highlights the structural and political insights provided by Mondrian's engagement with boogie-woogie music in America, through both recordings and visits to the nightclub Cafe Society, positioning the painting at the confluence of two streams of migration: one that brought Mondrian to New York as a war refugee and another that brought boogie-woogie sound northward with the Great Migration. Tracing these parallel histories, and how boogie-woogie signified in specific historical and political ways, deepens our understanding of how it modeled a space of freedom for Mondrian and shaped the vision realized in his two final paintings.

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12

Carrier, David. "Piet Mondrian and Sean Scully: Two Political Artists." Art Journal 50, no. 1 (1991): 67. http://dx.doi.org/10.2307/777090.

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13

Nuernberger, Renan. "O duplo ou a metade: João Cabral via Mondrian." Teresa, no. 22 (August 8, 2022): 53–70. http://dx.doi.org/10.11606/issn.2447-8997.teresa.2021.170451.

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Este artigo propõe uma análise de “No centenário de Mondrian”, poema de João Cabral de Melo Neto publicado em Museu de tudo (1975). Sem ignorar as já conhecidas semelhanças entre a plasticidade ortogonal de Piet Mondrian e a linguagem calculada de João Cabral, o artigo arrisca uma interpretação que enfatiza os aspectos mais instáveis do poema, os quais revelam um outro modo de apreensão do trabalho do artista homenageado e, ao mesmo tempo, uma revisão consciente de certos pressupostos que sustentavam a poesia cabralina desde, pelo menos, O engenheiro (1945).

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14

Oliveira, Fábio José Santos de. "Entre linhas e árvores: um estudo sobre Julio Cortázar e Piet Mondrian." Aletria: Revista de Estudos de Literatura 23, no. 3 (December 31, 2013): 45–58. http://dx.doi.org/10.17851/2317-2096.23.3.45-58.

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No conto “Manuscrito hallado en un bolsillo” (Manuscrito achado num bolso), do livro Octaedro, de Julio Cortázar, aparecem algumas referências à obra do pintor holandês Piet Mondrian. Tendo isso em consideração, buscamos analisar a importância dessas referências para o sentido do conto em questão, bem como estudar os momentos nos quais, salvaguardadas as especificidades do modelo artístico de ambos, o texto de Cortázar está ou não em contato com a obra de Mondrian no que diz respeito a dados estéticos. Ao falar de dados estéticos, referimo-nos aos procedimentos de trabalho com o texto e à produção de sentido a partir da maneira como o texto (conto ou pintura) está estruturado.

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15

Gontijo, Bruno Henrique Fernandes. "A planaridade na teoria modernista de Greenberg e seu paralelismo com a produção artística de Piet Mondrian e Lygia Clark." Revista Visuais 8, no. 1 (June 17, 2022): 42–57. http://dx.doi.org/10.20396/visuais.v8i1.16157.

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Segundo Clement Greenberg (1960), é inerente à modernidade a realização de uma autocrítica pelo viés do interior, utilizando-se dos próprios meios do que está sendo criticado. O objetivo central do ensaio é correlacionar os conceitos desenvolvidos no artigo “Pintura Modernista”, de Greenberg, com a obra de Piet Mondrian e sua reverberação nos trabalhos da primeira fase de Lygia Clark. Através da ênfase na planaridade, presente tanto nas pinturas e teorias neoplásticas de Mondrian quanto nos quadros concretos de Clark, a arte pictórica utilizou seus próprios mecanismos para se alcançar uma “pureza” universal e refletir sobre a sua razão de existir.

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16

Calhoon, Kenneth S. "Food for Vultures." Konturen 5 (December 16, 2013): 105. http://dx.doi.org/10.5399/uo/konturen.5.0.3371.

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Beginning with a comparison of Joseph Conrad’s Heart of Darkness and certain paintings of Piet Mondrian, this essay explores the inherent abstraction of Romantic precursors to those Modernist literary and painterly compositions that (continue to) place a subject squarely before an expanse (of water, of light, or of dark).

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17

Cohen-Shalev, Amir, and Aviva Rapoport. "Mondrian and the “Boogie Woogies”: Interruption of Inner Developmental Logic or Completion in Old Age?" International Journal of Aging and Human Development 36, no. 1 (January 1993): 1–8. http://dx.doi.org/10.2190/g7dr-mnad-x161-k5tr.

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Taking the work of the painter Piet Mondrian as a point of departure, artistic continuity and change are examined from a lifespan developmental perspective. It is argued that decontextualized continuity tends to occur within a given lifestage, whereas contextualized change is apt to emerge during a transition from one lifestage to another. Thus, Mondrian's gradual development of a unique style, predicated on logical, stage-like unfolding, is related to a midlife emphasis on formal structure. From a similar perspective, his dramatic shift away from this inner logic of development in his last work, the Boogie Woogies, is attributed to an ultimate effort in old age to synthesize art and reality, to reconcile a conflict between the laws of art and direct expression of sense experience.

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18

Overy, Paul. "‘Here-I-Am-Again-Piet’: A Mondrian for the Nineties." Art History 18, no. 4 (December 1995): 584–95. http://dx.doi.org/10.1111/j.1467-8365.1995.tb00644.x.

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19

Bountis, Tassos, Athanassios S. Fokas, and Emmanouil Z. Psarakis. "Fractal analysis of tree paintings by Piet Mondrian (1872-1944)." International Journal of Arts and Technology 10, no. 1 (2017): 27. http://dx.doi.org/10.1504/ijart.2017.083902.

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20

Psarakis, Emmanouil Z., Tassos Bountis, and Athanassios S. Fokas. "Fractal analysis of tree paintings by Piet Mondrian (1872-1944)." International Journal of Arts and Technology 10, no. 1 (2017): 27. http://dx.doi.org/10.1504/ijart.2017.10004725.

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21

ŞENOL, Tolga. "PIET MONDRIAN VE KAZIMIRMALEVICH ÖRNEKLEMİNDE SOYUT YAPITLARIN SOMUT İSİMLERLE A." Journal of Academic Social Science Studies 6, Number: 70 (January 1, 2018): 299–308. http://dx.doi.org/10.9761/jasss7678.

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22

Hamilton, James W. "“Nothing Specific, Nothing Human”: The Life and Work of Piet Mondrian." Psychoanalytic Review 88, no. 3 (June 2001): 337–67. http://dx.doi.org/10.1521/prev.88.3.337.17689.

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23

Pomiès, Anissa, and Elisabeth Tissier-Desbordes. "Constructing the object of research in the manner of Piet Mondrian." Marketing Theory 16, no. 3 (July 31, 2016): 279–98. http://dx.doi.org/10.1177/1470593116635875.

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24

Lee, Keon Myung, Kyoung Soon Hwang, Kyung Mi Lee, Seung Kee Han, Woo Hyun Jung, and Seungbok Lee. "Supervised Learning-Based Feature Selection for Mondrian Paintings Style Authentication." Journal of Advanced Computational Intelligence and Intelligent Informatics 16, no. 7 (November 20, 2012): 894–99. http://dx.doi.org/10.20965/jaciii.2012.p0894.

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This paper concerns feature selection for computational analysis in authenticating works of art. The various features designed and extracted from art work in art forgery detection or the identification of the characteristics of art work style are valuable only when they have a meaningful influence on a given task such as classification. This paper presents features applicable to authenticating the painting style of Piet Mondrian and demonstrates meaningful features by using two supervised learning algorithms, a decision tree induction algorithm C4.5 and the Feature Generating Machine (FGM), both of which are used to select important features in the course of learning.

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25

Rosas Martínez, Alfredo. "Orfeo en París. "Manuscrito hallado en un bolsillo", de Julio Cortázar." Ogigia. Revista Electrónica de Estudios Hispánicos, no. 31 (July 29, 2022): 7–34. http://dx.doi.org/10.24197/ogigia.31.2022.7-34.

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El relato “Manuscrito hallado en un bolsillo” de Julio Cortázar se basa en un juego que se convierte en ceremonia y rito, el cual requiere un tiempo y un espacio sagrados. Este espacio, nocturno y subterráneo, adquiere un carácter mítico. El plano del metro de París se corresponde con algunas pinturas de Piet Mondrian. Algunas ideas de este artista, y de René Magritte, sobre el arte de la pintura se corresponden con algunas ideas literarias de Cortázar. Al cuento le subyace el mito de Orfeo.

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26

Sarriugarte Gómez, Iñigo. "Correspondencias formales y visuales entre el Tangram y la obra pictórica del neoplasticista Bart van der Leck." Ars Bilduma, no. 8 (July 19, 2018): 159–75. http://dx.doi.org/10.1387/ars-bilduma.17633.

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Si el reto creativo ante un Tangram es reconstruir distintas figuras en base a un número de piezas invariables y geométricas, esta misma actitud será la que deba asumir el espectador ante la obra del neoplasticista holandés Bart van der Leck, al aplicar una metodología reduccionista y planimétrica, especialmente al geometrizar los temas figurativos y simplificarlos a elementos sueltos en brillantes colores sobre fondo blanco. Esta aportación metodológica conllevará influencias en los trabajos de los demás miembros del grupoDe Stijl, particularmente en la obra de Piet Mondrian.

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27

Locher, Paul, Kees Overbeeke, and Pieter Jan Stappers. "Spatial Balance of Color Triads in the Abstract Art of Piet Mondrian." Perception 34, no. 2 (February 2005): 169–89. http://dx.doi.org/10.1068/p5033.

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28

Oliveira, Fábio José Santos de. "As duas mãos: estudo comparado entre João Cabral, Piet Mondrian e Joan Miró." Em Tese 23, no. 1 (March 16, 2018): 198. http://dx.doi.org/10.17851/1982-0739.23.1.198-216.

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Nosso artigo analisa comparativamente a poética de João Cabral de Melo Neto (1920-1999) e algumas pinturas de Piet Mondrian (1872-1944) e Joan Miró (1893-1983). Para tanto, tomamos com ponto de partida o próprio olhar crítico do poeta, que, em poema intitulado “O sim contra o sim” e através da metáfora da mão direita, estabelece equiparação entre esses dois pintores, ainda que ambos possuíssem uma estética razoavelmente distinta um do outro. Por meio dessa visada crítica acerca dos pintores, alcançamos, por fim, uma leitura da própria poesia de João Cabral: ao escrever sobre outros, o poeta acaba escrevendo também sobre si mesmo.

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29

Wilson, Fred. "Ultimate Reality and Meaning in the Art of Piet Mondrian and T.S. Eliot." Ultimate Reality and Meaning 23, no. 4 (December 2000): 339–76. http://dx.doi.org/10.3138/uram.23.4.339.

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30

안종숙. "A Study on the nail-art design with the motif of Piet Mondrian." Journal of Korea Society of Color Studies 26, no. 1 (February 2012): 21–31. http://dx.doi.org/10.17289/jkscs.26.1.201202.21.

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31

Knittel, Krzysztof. "Some Remarks on my Composition Technique." Musicology Today 12, no. 1 (December 1, 2015): 74–79. http://dx.doi.org/10.1515/muso-2015-0008.

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Abstract Krzysztof Knittel’s text about his own composition techniques, also looking at such topics as: the influence of painting on his music (e.g. the works of Piet Mondrian and Paul Klee); truth in the musical work; the application of recycling ad re-use techniques to the form of the musical work; methods of constructing the sound of the composition; links between music and historical events; rollage - a technique borrowed from the painter Jiří Kolář for the needs of St. Matthew Passion; sound installations created by Knittel with sounds of nature and civilisation; Theodor Lipps’ theory of empathy (Einfuhlung), as well as intuitive and improvised music.

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32

Van der Heyden, Ingrid, and Helma Van Lierop. "A Threefold Hybridity. Picturebook art fantasies as life writing." European Journal of Life Writing 3 (October 3, 2014): 63–81. http://dx.doi.org/10.5463/ejlw.3.119.

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Picturebook art fantasies about the life and work of famous artists are usually studied from an art education perspective, but they are also interesting from the point of view of life writing, because of their hybridity on three levels: the combination of fact and fiction, the synergy between text and images and their attractiveness for both child and adult readers. In this article two picturebooks are examined on this threefold hybridity, one about Wassily Kandinsky and one about Piet Mondrian. Both books are part of a series of picturebooks, initiated by the Municipal Museum in The Hague and Dutch children’s book publisher Leopold. It is argued that the postmodern experimentation with the form which is characteristic of life narratives for adults, can also be observed in children’s literature. The biographies of Kandinsky and Mondrian make use of novelistic techniques and the interplay between words and images to tell about the life and work of these two visual artists. The many allusions in text and images to the art and the poetics of the two painters show that these picturebooks are a challenging form of life writing for both adults and children.

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33

Kolić, Neda. "Mondrian's "transdance": Transposition of music and dance movements into painting." New Sound 53, no. 1 (2019): 70–88. http://dx.doi.org/10.5937/newso1901070k.

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The syntagm, Mondrian's "transdance" is a term with which the author wanted to symbolically indicate the main research interest presented in this paper, that is, the examination of how the basic stance, steps and movements in the Foxtrot and, implicitly, the main elements of jazz, i.e. melody, rhythm, harmony, are transposed into the particular visual compositions - Fox Trot A (1930) and Fox Trot B (1929). All of these particular art forms (dance, painting, and music), though very different in the aesthetical and poetical respect, are nevertheless connected with one essential element - movement, as a measure of both time and space. In this consideration of painting as a temporal, and not only a spatial object, the visual art discourse is influenced by the vocabulary of the art of music and of dance. Thus, this paper should be understood as the author's intimate observation of time-space transpositions (at the wider level), as well as the author's discussion about the latent (interdisciplinary) 'dialogue' which the painter, Piet Mondrian, aka "The Dancing Madonna", conducted with dance and music (in the strictest sense). This premise is explored from several aspects, but none of them deviates from the main methodological course, determined by the "interdisciplinary model of musicological competence" (Veselinović-Hofman).

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34

Abed, Murtadha Atewa. "THE INFLUENCE OF THEOSOPHY ON MODERN PAINTING." American Journal Of Social Sciences And Humanity Research 4, no. 4 (April 1, 2024): 42–48. http://dx.doi.org/10.37547/ajsshr/volume04issue04-07.

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An interesting subject that delves into the junction of spirituality, philosophy, and creative expression is the effect of Theosophy on contemporary painting. In the late 19th century, Helena Petrovna Blavatsky established the spiritual movement known as Theosophy. Theosophy is a belief system that seeks to discover the truth about the oneness of all faiths and delve further into the secrets of life, positing the existence of concealed realities beyond the material world. During the late 19th and early 20th centuries, Theosophy wielded a transformative influence on the field of contemporary art. Its principles were not just influential, but potent enough to reshape the work of even the most prominent painters. Russian artist Wassily Kandinsky is a testament to this; his journey was not just instrumental, but transformative in the ascent of abstract expressionism.Theosophical teachings resonated deeply with Kandinsky, echoing not just his profound spirituality, but his personal quest to uncover art's hidden significance. Theosophy posited the existence of concealed realities beyond the material world, placing not just a premium, but a profound importance on the spiritual facets of life. For Kandinsky, art was not just a portal, but a profound conduit for these higher realms, a conduit for the cosmic spirit to manifest. This profoundly impacted Kandinsky as he veered away from realistic imagery and delved into the realm of abstract painting. He aimed to articulate spiritual experiences and emotions through the medium of color and shape. For instance, in his painting 'Composition VII, 'Kandinsky used vibrant colors and dynamic shapes to convey a sense of spiritual energy and movement. Driven by the belief that art could convey profound, transcendent truths, his work progressively shed its symbolic nature. Famous for his geometric abstract paintings, Piet Mondrian was another artist impacted by Theosophy. Theosophy's principles of spiritual progress and cosmic oneness resonated with Mondrian's search for inner peace and a sense of cosmic order, which were crucial to his creative process. For instance, in his painting 'Composition with Red, Yellow, and Blue, 'Mondrian used primary colors and straight lines to represent the harmony and balance he believed existed in the universe, a concept aligned with philosophical ideas. Beyond specific artists, the influence of Theosophy on contemporary art might be seen in more systemic currents like Abstract Expressionism and Symbolism. Some artists, like the symbolists, drew inspiration from the theosophical tradition's emphasis on introspection and mystical themes. Theosophy had not just a significant but a lasting impact on contemporary painting. It inspired painters to seek not just new ways but innovative ways of expressing themselves that went beyond traditional depictions. Modern painting's enduring legacy is not just profoundly rooted but intricately intertwined with theosophical ideas of spirituality, oneness, and inner change, which fostered not just the emergence but the flourishing of abstract and emotionally charged art forms, such as Wassily Kandinsky's abstract expressionism and Piet Mondrian's geometric abstraction, which aimed not just to convey, but to evoke spiritual and emotional experiences through non-representational forms.

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35

BOYDAŞ, Okan. "20. YÜZYIL BATI RESİM SANATI GEOMETRİK FORM DEĞERLERİNİN İNCELENMESİ: PAUL CEZANNE, PABLO PICASSO, PIET MONDRIAN." Social Sciences Studies Journal 6, no. 68 (January 1, 2020): 3481–89. http://dx.doi.org/10.26449/sssj.2574.

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36

Visnadi, Débora. "A abstração em movimento: abertura nos móbiles de Alexander Calder e pinturas transatlânticas de Piet Mondrian." Palíndromo 11, no. 25 (September 16, 2019): 131–45. http://dx.doi.org/10.5965/2175234611252019131.

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37

Spayd, Kimberly, Molly Reynolds, and Christian Lansinger. "On the Use of Geometric Elements in the Works of Laszlo Moholy-Nagy and Piet Mondrian." Journal of Humanistic Mathematics 9, no. 1` (January 2019): 81–106. http://dx.doi.org/10.5642/jhummath.201901.06.

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38

Gonçalves, Yacy-Ara Froner, and Bruno Henrique Fernandes Gontijo. "A galeria 512 do MoMA." MODOS: Revista de História da Arte 7, no. 3 (October 31, 2023): 709–37. http://dx.doi.org/10.20396/modos.v7i3.8673200.

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O presente artigo pretende discutir o processo de formação de discursos e construção de narrativas no âmbito de projetos expográficos museais voltados aos movimentos de arte latino-americanos. Essa análise será realizada à luz do que Jacques Derrida (1930-2004) denominou de “mal de arquivo” (1995), em diálogo com o conceito de imaginação curatorial, conforme pensado por André Malraux (1901-1976) em Le Musée Imaginaire, de 1947. O referencial teórico concernente às noções de coleções e colecionismo será obtido a partir do texto “O Colecionador”, de Walter Benjamin (2009). Por meio da interlocução com esses autores e através de uma reflexão autoral, o texto propõe uma análise da Galeria 512, atualmente em exposição no The Museum of Modern Art (MoMA), em Nova Iorque, questionando e revendo a narrativa reiterada que conecta os artistas concretos latino-americanos a Piet Mondrian (1872-1944), por meio do descolamento dos conceitos pré-concebidos.

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Losse, Carl H., and Arlyle Mansfield Losse. "THE NEW ART—THE NEW LIFE: THE COLLECTED WRITINGS OF PIET MONDRIAN. Harry Holtzman , Martin S. James." Art Documentation: Journal of the Art Libraries Society of North America 6, no. 3 (October 1987): 141–42. http://dx.doi.org/10.1086/adx.6.3.27947811.

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Francisco da Silva, Raphael. "A Cor Digital." O Mosaico 15, no. 1 (December 15, 2022): 227–42. http://dx.doi.org/10.33871/21750769.2022.15.1.6936.

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Este artigo pretende estabelecer relações com artistas de diferentes períodos do século XX a partir do conceito de cor digital através de um viés estilístico em detrimento do meio ou plataforma, tal como proposto pela autora Carolyn Kane sob a luz de Gilles Deleuze, dessa forma pretende-se então ilustrar a partir das composições de Piet Mondrian, Hiroshi Kawano e Waldemar Cordeiro as possibilidades de artes concebidas e/ou realizadas a partir de conceitos digitais parcial ou totalmente independentes de aparatos tecnológicos, podendo estas estabelecerem, consequentemente, relações híbridas entre arte, ciência e tecnologia. Para reforçar o entendimento do conceito de colorismo digital proposto pela autora foi necessária uma breve distinção entre aparatos digitais e analógicos assim como uma introdução aos sistemas de cores aditivas e sistema de cores subtrativas. Como referencial teórico complementar e para melhor ilustrar os modelos de Kane são empregados principalmente Arlindo Machado (2013) e textos dos próprios artistas apresentados neste artigo.

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Januszewski, Wojciech Stanisław. "The Colors of the Ineffable—Jerzy Nowosielski’s Monumental Works as a Contemporary Search for Sacred Space." Arts 10, no. 4 (September 26, 2021): 68. http://dx.doi.org/10.3390/arts10040068.

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The subject of this work is the monumental art of Jerzy Nowosielski (1923–2011), one of the most outstanding contemporary Polish painters, who combined modernity with the orthodox icon aesthetics. This work discusses the monumental realizations of Nowosielski, especially the architectural polychromes made by the artist in Catholic and Orthodox churches in Poland in the years 1950–1999. The aim of the inquiry is to present his work theoretically and place it in a broader artistic context. The research shows that Nowosielski’s monumental works results from a strongly defined artistic concept aimed at ‘mystagogy of space’. Nowosielski’s work is an original synthesis of the modernist avant-garde and traditional canons of religious art. The analysis of the problem was carried out in two areas: (1) analysis of the artist’s theoretical statements; (2) analysis of the artistic form with particular emphasis on the color aspect, based on the example of selected churches in Wesoła, Tychy, and Biały Bór. The work uses comparative references to the ideas of Wassily Kandinsky, Kazimir Malevich, Piet Mondrian, and Le Corbusier.

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Kim, Mi Hyun. "기하학적 추상양식의 조형적 요소를 응용한 네일 디자인 - 몬드리안의 작품을 중심으로 -." Journal of Health and Beauty 15, no. 1 (May 31, 2021): 51–58. http://dx.doi.org/10.35131/ishb.2021.15.1.5.

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Mancilla-González, Eréndida Cristina. "LA REPRESENTACIÓN BIDIMENSIONAL DEL ESPACIO Y EL TIEMPO EN LAS VANGUARDIAS DEL ARTE." DISEÑO ARTE Y ARQUITECTURA, no. 9 (December 21, 2020): 15–33. http://dx.doi.org/10.33324/daya.v1i9.334.

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El espacio y el tiempo son dos conceptos fundamentales en la representación de la obra de arte, por ello, este escrito parte de la definición y estudio de los conceptos, teorías y paradigmas que se han generado al respecto y de su aplicación en el arte. Para este propósito, se hace una exploración teórica dada a partir de la filosofía, la cual sirve como base para abordar dichos conceptos desde la naturaleza, realidad y estructura métrica del espacio y del tiempo; en un segundo apartado, se analiza su configuración formal mediante aspectos como: la percepción del espacio que contempla los niveles de profundidad, el traslapo, la transparencia y las deformaciones como indicadores espaciales, gradientes y tipos de perspectivas; la representación del tiempo, en donde se contemplaron los sucesos, la simultaneidad, la secuencia, la velocidad, el movimiento estroboscópico, la dinámica y la oblicuidad; finalmente, se analizaron los tipos de espacios (cognoscitivo , abstracto, perceptivo, creado, vivencial, artístico) y tiempos (mental, físico, periódico, cronológico, vivencial) presentes en la obra. El objetivo de esta investigación consiste en determinar los elementos compositivos que hacen evidente la aparición de diferentes espacios y tiempos en la obra de arte. Se presentan como casos ejemplificativos las obras de Pablo Picasso (Las Señoritas de Avignon, 1907), Wassily Kandinsky (Composición VIII, 1923) y Piet Mondrian (Cuadro Nº 2, 1925). Los resultados de este trabajo de análisis aportan una base conceptual referida a la representación y la configuración formal del espacio-tiempo en el arte pictórico de vanguardia del siglo XX. Palabras clave: Representación, espacio-tiempo, arte, vanguardias.AbstractSpace and time are two fundamental concepts in the representation of artwork. Thus, this writing embraces the definition and study of the concepts, theories and paradigms that have been generated in this regard and their application in art. For this purpose, a theoretical exploration was made based on philosophy, which serves as a basis to address the concepts from the nature, reality and metric structure of space and time. In a second section, the formal configuration was analyzed through aspects such as: space perception, which considers depth levels, overlapping, transparency and deformations as spatial indicators, gradients and types of perspectives. The representation of time, where events, simultaneity, sequence, speed, stroboscopic movement, dynamics and obliquity were contemplated. Finally, space types (cognitive, abstract, perceptual, created, experiential, artistic) and times (mental, physical, periodic, chronological, experiential) present in the work were analyzed. The objective of this research was to determine the compositional elements that make the appearance of different spaces and times evident in artwork. The works of Pablo Picasso (The Young Ladies of Avignon, 1907), Wassily Kandinsky (Composition VIII, 1923) and Piet Mondrian (Table Nº 2, 1925) are presented as exemplary cases. The results of this analysis work provide a conceptual basis for the representation and formal configuration of space-time in avant-garde pictorial art of the 20th century.Keywords Representation, space-time, art, vanguards.

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Terece, Tuba, and N. Basak Yurttas. "Experiences on the perception of two- and three-dimensional concepts in interior architecture education." Global Journal of Arts Education 10, no. 1 (February 28, 2020): 116–28. http://dx.doi.org/10.18844/gjae.v10i1.5333.

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In the study, at the Department of Interior Architecture and Environmental Design, Biruni University, in the 2019–2020 academic Fall Semester 1, in the scope of “introduction to Project 1” course, the applications of the students in the semester are discussed. During the implementation process, each student created original three-dimensional works based on the original works of Piet Mondrian. They have converted two-dimensional paintings into three-dimensional works with utility elements such as cubes, rectangular prisms and bars, with model materials to be used in their chosen areas. In the last stage, they drew the top, front-back and right-left side facades of the three-dimensional works. As a result, the students experienced a process in which they gained self-confidence, were not afraid to experiment and achieved successful results without being within certain limits with their original design approaches in their first studio experience. It was seen that they grasped the importance of learning by seeing, creating alternative solutions with trial and error method, expressing visually and experiencing in studio work. They have obtained a useful studio experience in which they can draw, transfer what they see and develop their manual skills with the concepts of ratio, proportion, scale and perception with the studies done. Keywords: Project, design, studio space, experience, three-dimensional perception.

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Brinkmann, Hanna, Louis Williams, Raphael Rosenberg, and Eugene McSorley. "Does ‘Action Viewing’ Really Exist? Perceived Dynamism and Viewing Behaviour." Art and Perception 8, no. 1 (March 4, 2020): 27–48. http://dx.doi.org/10.1163/22134913-20191128.

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Throughout the 20th century, there have been many different forms of abstract painting. While works by some artists, e.g., Piet Mondrian, are usually described as static, others are described as dynamic, such as Jackson Pollock’s ‘action paintings’. Art historians have assumed that beholders not only conceptualise such differences in depicted dynamics but also mirror these in their viewing behaviour. In an interdisciplinary eye-tracking study, we tested this concept through investigating both the localisation of fixations (polyfocal viewing) and the average duration of fixations as well as saccade velocity, duration and path curvature. We showed 30 different abstract paintings to 40 participants — 20 laypeople and 20 experts (art students) — and used self-reporting to investigate the perceived dynamism of each painting and its relationship with (a) the average number and duration of fixations, (b) the average number, duration and velocity of saccades as well as the amplitude and curvature area of saccade paths, and (c) pleasantness and familiarity ratings. We found that the average number of fixations and saccades, saccade velocity, and pleasantness ratings increase with an increase in perceived dynamism ratings. Meanwhile the saccade duration decreased with an increase in perceived dynamism. Additionally, the analysis showed that experts gave higher dynamic ratings compared to laypeople and were more familiar with the artworks. These results indicate that there is a correlation between perceived dynamism in abstract painting and viewing behaviour — something that has long been assumed by art historians but had never been empirically supported.

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Humphries, Stacey, Jacqueline Rick, Daniel Weintraub, and Anjan Chatterjee. "Movement in Aesthetic Experiences: What We Can Learn from Parkinson Disease." Journal of Cognitive Neuroscience 33, no. 7 (June 1, 2021): 1329–42. http://dx.doi.org/10.1162/jocn_a_01718.

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Abstract Visual art offers cognitive neuroscience an opportunity to study how subjective value is constructed from representations supported by multiple neural systems. A surprising finding in aesthetic judgment research is the functional activation of motor areas in response to static, abstract stimuli, like paintings, which has been hypothesized to reflect embodied simulations of artists' painting movements, or preparatory approach–avoidance responses to liked and disliked artworks. However, whether this motor involvement functionally contributes to aesthetic appreciation has not been addressed. Here, we examined the aesthetic experiences of patients with motor dysfunction. Forty-three people with Parkinson disease and 40 controls made motion and aesthetics judgments of high-motion Jackson Pollock paintings and low-motion Piet Mondrian paintings. People with Parkinson disease demonstrated stable and internally consistent preferences for abstract art, but their perception of movement in the paintings was significantly lower than controls in both conditions. The patients also demonstrated enhanced preferences for high-motion art and an altered relationship between motion and aesthetic appreciation. Our results do not accord well with a straightforward embodied simulation account of aesthetic experiences, because artworks that did not include visual traces of the artist's actions were still experienced as lower in motion by Parkinson patients. We suggest that the motor system may be involved in integrating low-level visual features to form abstract representations of movement rather than simulations of specific bodily actions. Overall, we find support for hypotheses linking motor responses and aesthetic appreciation and show that altered neural functioning changes the way art is perceived and valued.

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Zwollo, A. N., and W. H. K. Van Dam. "Een onbekende brief van Piet Mondriaan." Oud Holland - Quarterly for Dutch Art History 104, no. 3-4 (1990): 341–48. http://dx.doi.org/10.1163/187501790x00192.

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Danalov, Ilker. "Esoteric Painting by Hilma af Klint." Visual Studies 6, no. 3 (December 13, 2022): 285–97. http://dx.doi.org/10.54664/aimf4981.

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A number of modernist art movements of the late 19th and early 20th centuries gradually reduced the mimetic approach, leading to the logical emergence of pure abstraction. There were several contenders for the ‘first abstractionist’, and the Russian artist Wassily Kandinsky (1866–1944) is most often identified as such by art historians. His watercolour (Untitled; Study for Composition VII), which dates back to 1911, is considered the first abstract work. In 1912, Kandinsky published a kind of personal manifesto called “Concerning the Spiritual in Art”, in which he theorized abstract art. Other key pioneers of this art form from the early 1910s were Piet Mondrian (1872–1944) and Kazimir Malevich (1879–1935). They also come up with their own theories about ‘non objective’ art. Although different in their vision, what those artists had in common was that all three of them worked in the idiom of abstraction and were more or less guided by the ideas of the spiritual. The latter is important because the main contender for ‘first abstractionist’ whom we consider here also eliminated the representation of objects from the visible world and followed various spiritual teachings that underlie her work. After 1986, in various sources, the Swedish artist Hilma af Klint (1862–1944) was indicated as a pioneer of abstract art who began to paint the series “Paintings for the Temple” in 1906 (five years before Kandinsky). They are large-format, non-figurative paintings that bear visual and formalistic similarities to abstract painting. From this perspective, the debate about who was the first abstractionist is inevitable. The reason why Hilma af Klint began to be talked about so late is that she painted in isolation and kept her non-figurative paintings a secret. In her will, she stipulated that the paintings not be shown for 20 years after her death. They were discovered in the 1960s and exhibited for the first time in public at the exhibition “The Spiritual in Art: Abstract Painting 1890– 1985” in 1986. By examining the life and work of Hilma af Klint and briefly reviewing the main ideas of abstract art, the current paper aims to answer the question of whether the works by Hilma af Klint were created in the context of abstractionism of modernism, or whether they fall into another category, such as spiritualist or esoteric art.

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Fallahzadeh, Ali, and Geneviève Gamache. "Equilibrium and rhythm in Piet Mondrian’s Neo-Plastic compositions." Cogent Arts & Humanities 5, no. 1 (January 1, 2018): 1525858. http://dx.doi.org/10.1080/23311983.2018.1525858.

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Coppes, Wietse, and Leo Jansen. "Beyond categorisation: On Piet Mondrian’s artistry and success (1911-1919)." Oud Holland – Journal for Art of the Low Countries 135, no. 2-3 (August 5, 2022): 138–56. http://dx.doi.org/10.1163/18750176-1350203007.

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