"If the universal is the essential, then it is the basis of all life and art. Recognising and uniting with the universal therefore gives us the greatest aesthetic satisfaction, the greatest emotion of beauty."

The Early Years

Born Pieter Cornelis Mondriaan on March 7, 1872, in Amersfoort, the Netherlands, Mondrian was raised in a strict Calvinist family. Mondrian’s early exposure to art came from his father, a school headmaster, and his uncle, a talented artist, who provided him with an early education in art and encouraged him to pursue his passion. 

In 1892, Mondrian enrolled at the Academy of Fine Arts in Amsterdam. Here, he delved into the traditional techniques of Dutch landscape painting, honing his skills and capturing the beauty of his homeland’s countryside and iconic windmills in a realistic style.  However, Mondrian’s innate curiosity and thirst for innovation propelled him beyond the confines of traditionalism. This led him to the works of the Post-Impressionists and Symbolists, which would have a profound impact on his artistic development.

A Shift Toward Abstraction

As Mondrian’s exposure to new ideas grew, so did his desire to break free from the confines of traditional art. He began experimenting with colour and form, seeking to create a universal language that transcended individual experiences and cultural barriers. In his 1908 masterpiece, ‘The Red Tree’, Mondrian demonstrated a bold departure from traditional representation, employing vibrant hues and simplified compositions.

A pivotal moment came in 1911 when Mondrian relocated to Paris, where he encountered the revolutionary movement of Cubism. This encounter proved to be a turning point, profoundly shaping his work. Inspired by the deconstruction of objects and forms in Cubist works, Mondrian embraced a path of radical simplification.

Gradually, he stripped down objects and natural forms to their most elemental geometric shapes, unleashing an iconic style that would define his legacy. As a symbolic representation of his artistic transformation, Mondrian made a significant decision: he dropped the second ‘a’ from his surname, adopting the Anglicised version, ‘Mondrian’.

This change not only reflected his new artistic identity but also signalled a departure from the constraints of tradition. With each brushstroke, Mondrian committed to a new visual language and interpretation of artistic expression.

The Uniting Power of De Stijl

Amidst the tumultuous era of World War I, Piet Mondrian returned to his homeland, finding solace in a coterie of avant-garde artists led by the visionary Theo van Doesburg. In 1917, their shared passion birthed the De Stijl movement, which advocated for a return to simplicity, harmony, and order in art, architecture, and design.

With an uniting commitment, De Stijl embraced Mondrian’s devolution to minimalism, distilling forms to their purest essence, and limiting them to a select palette of primary hues, black, and white.

Among the pantheon of Mondrian’s works, ‘Composition with Red, Blue, and Yellow’ (1930) is perhaps the most noted example the De Stijl aesthetic. This work, alongside his other compositions, exemplified his belief in the balance between opposing forces and the inherent harmony of the universe.

As Mondrian’s reputation flourished in his community, he returned to the enchanting milieu of Paris in 1919, where he meticulously refined his signature style. Although met with initial skepticism, the art world ultimately embraced his revolutionary ideas, cementing his place as a visionary luminary within the realm of modern art. 

 

Birth of Boogie-Woogie

In 1938, with the rise of fascism and threat of World War II looming, Mondrian relocated to London, and then in 1940, moved to New York City. The energy and rhythm of the bustling metropolis captivated him, and he quickly became enamoured with the city’s thriving jazz scene. The syncopated beat of boogie-woogie music inspired Mondrian to create a new series of paintings, which he called his ‘New York City’ series.

One of his most famous works from this period is ‘Broadway Boogie Woogie’ (1942-43), a vibrant, dynamic composition that captures the energy and movement of New York City. Through the placement of small, rectangular blocks of colour in a grid-like pattern, Mondrian depicts the city’s bustling streets and towering structures. The vibrant interplay of primary colours pulsates with the lively rhythm of boogie-woogie music, encapsulating the spirit and energy of the urban landscape.

Victory Boogie Boogie, 1944 ・ Oil on Canvas, Unfinished Work ・ 127.5w x 127.5h (cm) ・ Kunsthaus Zürich, Switzerland

Photo of Models in Mondrian Dresses by Yves Saint. Laurent, Modelled at The Hague Municipal Museum, 12th January 1966 ・ National Archives, The Hague, Netherlands

Piet Mondrian passed away on February 1, 1944, in New York City, but his impact on the world of art and design continues to resonate today. His groundbreaking work has influenced countless artists, architects, and designers, including those associated with the Bauhaus movement, Minimalism, and Op Art.

On a personal level, Mondrian’s transformative journey, from a traditional Dutch painter to a pioneer of abstract art, serves as an example of what can happen when we step outside our comfort zones and follow our own path.

Because of this spirit, Mondrian’s distinctive style has permeated popular culture far beyond the boundaries of art. His iconic compositions have been reimagined and referenced in fashion, album covers, advertising, and interior design. His pursuit of harmony and simplicity in art and expression can still be seen in the works and ethos’ of artists and creatives today.

 


 

Image Credits
 · Banner Image : New York City (Detail), 1942 · Oil on Canvas · 114.2w x 119.3 (cm) · Musée National d’Art Moderne, Paris, France
 · Gallery 1 : Landscape near Arnhem (Cropped), 1900 – 1901 · Translucent and Opaque Watercolor over Graphite on Wove Paper · 74.8w x 52h (cm) · The J. Paul Getty Museum, Los Angeles, US
 · Gallery 2 : The Red Tree (Cropped), 1908 – 1910 · Oil on Canvas · 99w x 70h (cm) · Kunstmuseum Den Haag, The Hague, Netherlands
 · Gallery 3 : Apple Tree in Bloom (Cropped), 1912 · Oil on Canvas · 107.5w x 78.5h (cm) · Kunstmuseum Den Haag, The Hague, Netherlands
 · Gallery 4 : Tableau no.2 (Detail), 1913 · Oil on Canvas · 113.6w x 104.4h (cm) · Solomon R. Guggenheim Museum, New York, US
 · Gallery 5 : Composition with Red, Blue, and Yellow (Detail), 1930 · Oil on Canvas · 46w x 46h (cm) · Kunsthaus Zürich, Switzerland
 · Gallery 6 : Rhythm in Straight Lines  (Detail), 1937/1942 · Oil on Canvas · 69.5w x 72.2h (cm) · Kunstsammlung Nordrhein-Westfalen art collection of the German Federal State of North Rhine-Westphalia, Düsseldorf, Germany

Piet Mondrian, Calling Card, c.1919 - 1938 ・ Letterpress ・ The Met Museum ・ Gift of F.C. Schang, 1983