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Piet Mondrian
100 quotes
“In terms of composition the new plasticism is dualistic. Through the exact reconstruction of cosmic relations it is a direct expression of the universal; by its rhythm, by the material reality of its plastic form, it expresses the artist's individual subjectivity. It thus unfolds before us a whole world of universal beauty without thereby renouncing the human element.”
Piet Mondrian (1872–1944) said by 1944 at the latest wikiquote, CC BY-SA 4.0 source
“They [Mondrian's friends in Paris, Tonia and Wim Stieltjes] are receptive to the new, although they do not know what it is. Thus I do occasionally feel that my effort has not been in vain. They find the idea of the N.B. [= Dutch: / Neo Plasticism] sound and quite magnificent, but think that it will be quite a long time before people are ready for it.”
Piet Mondrian (1872–1944) first seen 1920 wikiquote, CC BY-SA 4.0 source
Recorded in: In a letter to Theo van Doesburg, Paris 1920; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 17
“The artist make things move, and is moved. He is policeman, motor car, everything at once. He who makes things move also creates rest. That which aesthetically is brought to rest is art.”
Piet Mondrian (1872–1944) first seen 1920 wikiquote, CC BY-SA 4.0 source
Recorded in: In 'The Grand Boulevards' (of Paris), Piet Mondriaan, in 'De Groene Amsterdammer', 27 March 1920 pp. 4-5
“A particular thought is not the same as a concentrated, creative thought, which is actually a feeling of inward-looking calm. The former produces a descriptive and morpho-plastic art, the latter a purely plastic manifestation. It is a question of the universal versus the individual. [Mondrian refers to André Gide's 'Dada', in 'Nouvelle Revue Francaise', 1 April 1920]”
Piet Mondrian (1872–1944) said by 1944 at the latest wikiquote, CC BY-SA 4.0 source
“I am very glad that the criticism is what it is. It is all right that way. In complete opposition to our direction. Otherwise we [De Stijl-artists] would have nothing to do. I got another impression from your letter, but it is much better this way. There we see again: we have straightly to oppose the whole to-do, à part.”
Piet Mondrian (1872–1944) first seen 1917 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote of Mondrian in a letter to Theo van Doesburg, 17 May, 1920; as cited in 'Stijl' catalogue, 1951, p. 72; quoted in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé; J.M. Meulenhoff, Amster…
“[Paris, as modern city] is beautiful in its perfection, but perfection means death and decay. Thus interfering with the process of dying is a crime against perfection: it stands in the way of a higher perfection.”
Piet Mondrian (1872–1944) first seen 1920 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote of Mondrian in 'Natuurlijke en abstracte realiteit', Piet Mondriaan, in 'De Stijl' III, 1920, p. 75
“Art on the contrary sought this harmony in practice [of art itself]. More and more in its creations it has given inwardness to that what surrounds us in nature, until, in Neo-Plasticism, nature is no longer dominant. This achievement of balance may prepare the way for the fulfillment of man and signal the end of (what we call) art.”
Piet Mondrian (1872–1944) first seen 1921 wikiquote, CC BY-SA 4.0 source
Recorded in: In a letter to Rudolph Steiner, c. 1921-23; as quoted in Abstract Painting, Michel Seuphor, Dell Publishing Co., 1964, p. 85
“It is of small importance whether De Stijl still exists as a 'group'; a new style was born, a new aesthetic created; it needs only to be understood – and cultivated.”
Piet Mondrian (1872–1944) first seen 1926 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote in: 'L'expression plastique nouvelle dans la peinture', Piet Mondriaan, 'Cahiers d'Art', 1, Paris, 1926, pp. 181-183
“[jazz and Neo-Plasticism are] highly revolutionary phenomena: they are destructive constructive. They do not destroy the actual content of form, but rather deepen form only in order to elevate it to a new order. They break the bonds of 'form as individuality' in order to make possible a universal unity.”
Piet Mondrian (1872–1944) first seen 1927 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote in: 'De Jazz en de Neo-plastiek', Piet Mondriaan, in 'i 10', 1927 pp. 421-427
“It may be noted that in Neo-Plastic art the crucial thing is the right angel, that is, the right-angle lines. And not whether the position of the lines is vertical or horizontal.. .So it is possible to make very beautiful things while placing the lines in a diagonal position.”
Piet Mondrian (1872–1944) first seen 1927 wikiquote, CC BY-SA 4.0 source
Recorded in: In 'Neo-Plasticism: Home – Street – City', Piet Mondriaan, 'i 10', Jan. 1927
“After your high-handed improvement(?) of 'Neo-plasticism' any co-operation is quite impossible for me.. .For the rest sans rancune - Piet Mondriaan.”
Piet Mondrian (1872–1944) first seen 1917 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote of Mondrian in a letter to Van Doesburg, 4 Dec. 1927; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé; J.M. Meulenhoff, Amsterdam 1956, p. 27
“Well, I think my paintings are fast enough already...”
Piet Mondrian (1872–1944) first seen 1930 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote of Mondrian, 1930 reacting on Alexander Calder, as cited by by Mondrian's recent biographer Hans Janssen, of the Gemeentemuseum in The Hague; as cited by Alastair Sooke, in 'Mondrian - the Joy of Being Square'; BB…
“To show that this end [of art by its dissolution into real life] is only a beginning, it is essential that.. ..the series of galleries [of the future museum of modern art] be followed by a room in which painting and sculpture will be realized by the interior itself.. ..demonstrating that what is lost for art is gained for life. This room could therefore be designed for use as a lecture room, a restaurant.. ..as a bar with an American jazz band. [Mondrian's reaction on a questionnaire (c. 1931?)]”
Piet Mondrian (1872–1944) said by 1944 at the latest wikiquote, CC BY-SA 4.0 source
Recorded in: Quote of Mondrian, as cited in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 166
“I very much like Arp's things. I consider him the only 'pure' artist after Neo/Plasticism.”
Piet Mondrian (1872–1944) first seen 1931 wikiquote, CC BY-SA 4.0 source
Recorded in: In a letter to his friend architect Alfred Roth, 19 November 1931; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 204
“The rectangular plane of varying dimensions and colours visibly demonstrates that internationalism does not mean chaos ruled by monotony but an ordered and clearly divided unity. In Neo-Plasticism, there are, in fact, very definite boundaries. But these boundaries are not really closed; the straight lines in rectangular opposition to one another constantly intersect, so that their rhythm continues throughout the whole work.. .These frontiers will be clearly defined but not 'closed'; there will be no customs, no work permits. 'Foreigners' will not be viewed as aliens.”
Piet Mondrian (1872–1944) first seen 1931 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote in 'The New Art – The New Life', Piet Mondrian, op. cit. Introd. Note 1., 1931
“..the Place de l'Opera [in Paris] gives a better image of the new life than many theories. Its rhythms of opposition, twice repeated in its two directions, realizes a living equilibrium through the exactness of its execution.”
Piet Mondrian (1872–1944) first seen 1930 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote of Mondrian before 1930; as cited in 'The New Art – The New Life', Piet Mondrian, op. cit. Introd. Note 1., 1931
“I believe that at times such as these my modest efforts may be useful to mankind. I have shown how the new art has succeeded in bringing about pure relationships, and furthermore how these can be created in day-to-day life. [Mondrian tried to convince the Dutch publisher Stols to publish his new manuscript 'L'art et la vie']”
Piet Mondrian (1872–1944) first seen 1932 wikiquote, CC BY-SA 4.0 source
Recorded in: In a letter to A. M. Stols, 26 March 1932; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 222
“[the double line in his paintings] is still one line, as in the case of your grooves [= the wide sunken lines in the relief's, the artist Gorin made then].. .In my last things the double line widens to form a plane, and yet it remains a line. Be that as it may, I believe that this question is one of those which lie beyond the realm of theory, and which are of such subtlety that they are rooted in the mystery of 'art'. But all that is not yet clear in my mind.”
Piet Mondrian (1872–1944) first seen 1934 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote in Mondrian's letter to artist Gorin, [who stated that the double line broke the necessary symmetry], 31 January, 1934; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2…
“The important task of all art is to destroy the static equilibrium by establishing a dynamic one. Non-figurative art demands an attempt of what is a consequence of this task, the destruction of particular form and the construction of a rhythm of mutual relations, of mutual forms, or free lines.. ..the law of the denaturalization of matter is of fundamental importance. In painting, the primary color that is as pure as possible realizes this abstraction of natural color.”
Piet Mondrian (1872–1944) first seen 1937 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote in: 'Plastic Art and Pure Plastic Art', Piet Mondrian (1937); in 'Documents of modern Art' ed. Robert Motherwell for Wittenborn, Schulz, New York 1945
“Vertical and horizontal lines are the expression of two opposing forces; they exist everywhere and dominate everything; their reciprocal action constitutes 'life'. I recognized that the equilibrium of any particular aspect of nature rests on the equivalence of its opposites.”
Piet Mondrian (1872–1944) first seen 1937 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote in 'Plastic Art and Pure Plastic Art', Piet Mondrian (1937), in 'Documents of modern Art', for Wittenborn, New York 1945, p. 13; as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massa…
“Art will not only continue but will realise itself more and more. By the unification of architecture, sculpture and painting a new plastic reality will be created.”
Piet Mondrian (1872–1944) first seen 1937 wikiquote, CC BY-SA 4.0 source
Recorded in: quote, 1937; last lines of Mondrian's publication in 'Circle'; as cited in Abstract Art, Anna Moszynska; Thames and Hudson, London 1990, p. 117
“Gradually I became aware [c. 1914-1918] that Cubism did not accept the logical consequences of its own discoveries; it was not developing abstraction towards its ultimate goal: the expression of pure reality.”
Piet Mondrian (1872–1944) said by 1944 at the latest wikiquote, CC BY-SA 4.0 source
“Quote of Mondrian about the years 1914-18; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé; J.M. Meulenhoff, Amsterdam 1956, p. 43”
Piet Mondrian (1872–1944) said by 1944 at the latest wikiquote, CC BY-SA 4.0 source
“[..how the] landlord has had my room cleaned by Snow White and the squirrel has whitewashed the walls with his tail [signed:] - "Sleepy".”
Piet Mondrian (1872–1944) said by 1944 at the latest wikiquote, CC BY-SA 4.0 source
“[...that the] dwarfes don't have enough time to help me themselves but send squirrels and birds. [referring to artist-friends who had helped him to settle in London.”
Piet Mondrian (1872–1944) said by 1944 at the latest wikiquote, CC BY-SA 4.0 source
“[..but he had] a record with the music of the dwarfes on it, and quite often play it.”
Piet Mondrian (1872–1944) first seen 1938 wikiquote, CC BY-SA 4.0 source
Recorded in: short quotes, from post-cards to his brother Carel, from London autumn, 1938; as quoted in 'Artist Piet Mondrian in London: the forgotten years', Thomasine, Sweden; The Guardian International
“In his later works Doesburg tried to destroy static expression by diagonal position of his lines. But in this way the feeling of physic equilibrium which is necessary to enjoy a work of art is lost.”
Piet Mondrian (1872–1944) first seen 1943 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote in a letter of Mondrian to Sweeney, 24 May 1943; as cited in: - 102 - Two autobiographical texts (24 May 1943)
“Now the only problem is to destroy these lines also through mutual opposition. ..[note under his letter]: I think that the destructive element is too much neglected in art.”
Piet Mondrian (1872–1944) first seen 1943 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote in his letter to Sweeney, 24 May 1943; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 240
“Only now [1943] I become conscious that my work in black, white and little color planes has been merely 'drawing' in oil color. In drawing, the lines are the principal means of expressions.. .In painting, however, the lines are absorbed by the color planes; but the limitations of the planes show themselves as lines and conserve their great value.”
Piet Mondrian (1872–1944) first seen 1943 wikiquote, CC BY-SA 4.0 source
Recorded in: note from his postcard, late May 1943; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 240
“That is what we are against [the ancient-Greek ideas about art], because that is the key to the classic and tragic finality from which we must free ourselves.”
Piet Mondrian (1872–1944) first seen 1944 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote of Mondrian c. 1944, in 'Mondrian in New York: a Memoir', by Carl Holty; 'Arts', Sept. 1957, p. 11; as cited in 'The Aesthetics of Piet Mondrian, by Arthur Chandler; California State University, San Francisco; MSS…
“Only through intuition does a work rise above more or less subjective expression. Different periods produce different feelings and conceptions, and in each period men differ. Consequently different art expressions even in a single period are not only logical but a tribute to the general development of art. Intuition always finds the way of progress, which is continuous growth toward a clearer establishment of the content of art: the unification of man with the universe.”
Piet Mondrian (1872–1944) said by 1944 at the latest wikiquote, CC BY-SA 4.0 source
“Instinct reveals itself as self-concentrating, self-edifying it is limitation. Intuition produces self-denial, self-destruction； it is expansion. Culture can develop both. If it develops instinct, animal nature appears. Then culture destroys the intuitive capacity which men have even found in a primitive state.”
Piet Mondrian (1872–1944) said by 1944 at the latest wikiquote, CC BY-SA 4.0 source
“Human culture reveals an opposition: diminution of the instinctive faculties and development of the intuitive capacity. A cultivation of instinctive faculties produces human degeneration; a cultivation of intuitive capacities creates human progress.”
Piet Mondrian (1872–1944) said by 1944 at the latest wikiquote, CC BY-SA 4.0 source
“Environment, education, experience, make men conscious of passing reality but overwhelm their intuitive capacity when this is not very strong.”
Piet Mondrian (1872–1944) said by 1944 at the latest wikiquote, CC BY-SA 4.0 source
“Culture produces relative consciousness of the changeable expression of reality. When this consciousness is attained, a revolt takes place: the beginning of the deliverance from that expression of reality. Destruction of its limitation follows. The culture of the intuitive faculties has conquered. A clearer perception of constant reality is possible. A new realism appears.”
Piet Mondrian (1872–1944) said by 1944 at the latest wikiquote, CC BY-SA 4.0 source
“..reality reveals itself by substantial, palpable forms, accumulated or dispersed in empty space.. ..these forms are part of that space and.. ..the space between them appears as form, a fact which evidences the unity of form and space.”
Piet Mondrian (1872–1944) said by 1944 at the latest wikiquote, CC BY-SA 4.0 source
“..the elements of form have a particular aspect; every fragment, every plane, every line has its proper character.”
Piet Mondrian (1872–1944) said by 1944 at the latest wikiquote, CC BY-SA 4.0 source
“You write you could never be a Theosophist. Well I suppose I could say the same thing, if you're referring to what most theosophists are. But that does not alter the fact that I believe that the principles of theosophy are true, and that it leads to clarity in one's spiritual development. Which means that we [= Mondrian ànd the catholic painter and his former teacher L. Schelfhout, after their reconciliation] quite agree on this point. Self-awareness is, in my view, of crucial importance to all human beings. I can understand how the Catholic doctrine may lead to vagueness, but Theosophy, which is a spiritual science, can never do so.”
Piet Mondrian (1872–1944) first seen 1912 wikiquote, CC BY-SA 4.0 source
Recorded in: In a letter to , Paris 29 January 1914; as quoted in 'Beeldende Kunst: Opmerkingen over de tentoonstelling van den Modernen Kunstkring.. Der Ploeg (1912)', W. Steenhoff, p. 147
“For when I construct lines and colour combinations on a flat surface, it is with the aim of portraying 'universally beauty' as consciously as possible. Nature (or that which I see) inspires me, provides me – as it does every painter – with the emotion by which I am moved to create something, but I want to approach the truth as closely as possible, abstracting everything until I come to the foundation – still only an outward foundation! – of things. It is for me a clear truth that one does not want to say something 'specific', it is then that one says what is most specific: the truth (which is of great universality).”
Piet Mondrian (1872–1944) first seen 1914 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote in a letter to H. P. Bremmer, Paris 29 January 1914; ; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 81
“I believe that it is possible by means of horizontal and vertical lines, constructed 'consciously' but not 'calculating', guided by a higher intuition and brought to harmony and rhythm – I believe that these fundamental aesthetic shapes – where necessary supplemented by lines in other directions or curved lines, make it possible to arrive at a work of art which is as strong as it is true. For anyone who sees more deeply, there is nothing vague about this; it is only vague for the superficial observer of nature. And 'chance' must be as far removed as 'calculation'. And for the rest it seems to me that it is necessary to keep breaking off the horizontal or vertical line: for if these directions were not countered by others, they would themselves come to signify something 'specific' and thus human.”
Piet Mondrian (1872–1944) first seen 1914 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote of Mondrian in a letter to H. P. Bremmer, Paris 29 January 1914; ; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 81
“With regard to the diagonal, too, I am in complete agreement with you [with Theo van Doesburg ]. As soon as it appears together with straight [horizontal and vertical] lines, I believe it should be condemned.. .A while back I started a thing entirely in diamonds [diamond-shape] like this [his sketch in the letter of several diamond-forms]. I have to find out if it's possible: intellectually I'm inclined to say it is. There's something to be said for the idea, because perpendicular and flat lines can be seen everywhere in nature; by using a diagonal line I would be canceling that out. But I'm inclined to say that this cannot be combined with perpendicular and flat lines or with different kinds of slanting lines.”
Piet Mondrian (1872–1944) first seen 1918 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote from a letter of Mondrian to Theo van Doesburg, undated, c. May 1918; as cited in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 120
“I remained there [in The Netherlands, 1914-18] for the duration of the war, continuing my work of abstraction in a series of church. facades, trees, houses, etc. But I felt that I still worked as an Impressionist and was continuing to express particular feelings, not pure reality. Although I was thoroughly conscious that we can never be absolutely 'objective', I felt that one can become less and less subjective, until the subjective no longer predominates in one's work. More and more I excluded from my painting all curved lines, until finally my compositions consisted only of vertical and horizontal lines which formed crosses, each separate and detached from the other. Observing sea, sky and stars, I sought to indicate their plastic function through a multiplicity crossing verticals and horizontals.”
Piet Mondrian (1872–1944) first seen 1914 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote of Mondrian about 1914-1918; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; as cited in De Stijl…
“And then about whether or not to work from a given in nature. In my view, you [ Van Doesburg ] define this in a rather narrow sense. In the main, I do agree with you that the destruction of the natural, and it reconstruction, must be accomplished according to a spiritual image, but I believe that we should take a broad view here. What is natural does not have to be a representation of something. I'm now working on a thing that is a reconstruction of a starry sky ['Composition, Checkerboard Dark Colours', 1919] and yet I'm making it without a given from nature. Someone who says he uses a theme from nature can be right, but also someone who says he uses nothing at all.”
Piet Mondrian (1872–1944) first seen 1919 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote in Mondrian's letter to Theo van Doesburg, 18 April 1919; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, pp. 125-6
“Ru-h-ru-h-ru-h-h-h-h. Pooh-ooh-ooh. Tick-tick-tick-tick. Pre. R-r-r-r-r-uh-h. Huh! Bang. Su-su-su-ur. Booh-a-ah. R-r-r-r. Pooh…multitude of sounds, all mixed together. Motorcars, buses, carts, carriages, people, lamp-posts, trees.. all mixed together; in front of cafés, shops, offices, posters, shop windows: multitude of things. Motion and standstills: different movement. Movement in space and movement in time. Multitude of images and all sorts of ideas. Images are veiled truths. All different truths form what is true. What is individual does not display all in a single image.. ..Ru-ru-ru-u-u. Pre. Images are boundaries. Multitude of images and all sorts of boundaries. Elimination of images and boundaries through all sorts of images. Boundary clouds what is true. Rebus: where is what is true? Boundaries are just as relative as images, as time and space. [Mondrian's poem has strong connections with 'dynamism' of Futurism]”
Piet Mondrian (1872–1944) first seen 1920 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote from his article 'The Grand Boulevards', Piet Mondriaan, in Dutch magazine 'De Groene Amsterdammer', 27 March 1920 pp. 4-5
“I believe that new art must differ totally in its manifestation from art as we know it, and people may be very reluctant to accept this. It is perhaps true to say, as someone did of cubism, that 'To sum up: since art is a need to create rather than imitate, the 'cubists' rousing themselves from the sentimentality born of the picturesque aspect of some natural spectacle or other, disengage the fleeting aspects from those which are constant and absolute, and with the aid of these two elements, construct a reality equivalent to that which they see before them'. Thus it is a question of finding the true equivalence (that, offered by Cubism is still not true equivalence), and this can only be 'that which is not nature at all, and is nonetheless one with nature [like in Neo-Plasticism / De Stijl ].”
Piet Mondrian (1872–1944) first seen 1921 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote in Mondrian's letter to Lodewijk van Deyssel (who reacted as Dutch art critic on Mondrians essay: 'Le Néo-plasticisme'] Paris, February 1921; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktio…
“Having red several of your books, I wonder if you [ Rudolf Steiner, the German founder of anthroposophy] could find the time to read my brochure 'Le Néo-Plasticisme', which I am closing. I believe that Neo-Plasticism is the art of the foreseeable future for all true anthroposophists and theosophists. Neo-Plasticism creates harmony through the equivalence of the two extremes: the universal and the individual. The former by 'revelation', the latter by 'deduction'.. .It was impossible to bring about an equilibrium of relationships other than by destroying the 'form', and replacing it by a new 'universal' expressive means.”
Piet Mondrian (1872–1944) first seen 1921 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote from Mondrian's letter to Rudolf Steiner, c. 1921-23; as cited in Abstract Painting, Michel Seuphor, Dell Publishing Co 1964, p. 83-85
“Neo-Plasticism has its roots in Cubism. It could just as easy be called the Painting of Real Abstraction. Since the abstract can be expressed by a plastic reality.. .It achieves what all painting has tried to achieve but has been able to express only in a veiled manner. By their position and their dimension as well as by the importance of given to colour, the coloured planes express in a plastic way only relations and not forms. Neo-Plasticism imparts to these relations an aesthetic balance and thereby expresses universal harmony.. .For the moment what art had discovered must still be limited to art itself. Our environment cannot yet be realized as a creation of pure harmony. Art today is at the very point formerly occupied by religion. In its deepest meaning art was the transposition of the natural [into another plane]; in practice it always sought to achieve harmony between man and untransposed nature. Generally speaking, so do Theosophy and Anthroposophy, although these already possessed the original symbol of balance. And this is why they never were able to achieve equivalent relations, that is to say true harmony.”
Piet Mondrian (1872–1944) first seen 1921 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote in Mondrian's letter to Rudolf Steiner, c. 1921-23; as cited in Abstract Painting, Michel Seuphor, Dell Publishing Co 1964, p. 83-85
“Though I do, of course agree with the principles you have mentioned, I am returning the paper unsigned, as I do not want to belong to a group. A group of people with one aim is not as yet a single-minded group and as this does not exist, a consistent group remains impossible. And a larger group only makes sense for joint exhibitions and for spreading ideas. I will therefore not participate in the other group either, but I have promised my collaboration in this respect. If you definitely want to form a group, you can always invite myself and others who are proved to be suitable. Only on such a basis I will collaborate with the other group as well.”
Piet Mondrian (1872–1944) first seen 1917 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote of Mondrian, in a letter to Theo van Doesburg, 1930; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé; J.M. Meulenhoff, Amsterdam 1956, p. 30
“the Cubists in Paris made me see that there was also a possibility of suppressing the natural aspect of form. I continued my research by abstracting the form and purifying the colour more and more. While working, I arrived at suppressing the closed effect of abstract form, expressing myself exclusively by means of the straight line in rectangular opposition; thus by rectangular planes of colour with white, grey and black. At that time, I encountered artists with approximately the same spirit, First Van der Leck, who, though still figurative, painted in compact planes of pure colour. My more or less cubist technique - in consequence still more or less picturesque - underwent the influence of his exact technique. Shortly afterwards I had the pleasure of making the acquaintance of Van Doesburg. Full of vitality and zeal for the already international movement that was called 'abstract', and most sincerely appreciative of my work, he came to ask me to collaborate in a review he intended to publish, and which he [Theo van Doesburg] was to call 'De Stijl'. I was happy with an opportunity to publish my ideas on art, which I was engaged in writing down: I saw the possibility of contacts with similar efforts.”
Piet Mondrian (1872–1944) first seen 1917 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote of Mondrian c 1931, in 'De Stijl' (last number), p. 48; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé; J.M. Meulenhoff, Amsterdam 1956, pp. 44-45
“Thus we must carefully distinguish between two kinds of reality, one which has an individual character, and one which has a universal appearance.. .It is, however, wrong to think that the non-figurative artist finds impressions and emotions received from the outside useless, and regards it even as necessary to fight against them.. .It is equally wrong to think that the non-figurative artist creates through 'the pure intention of his mechanical process', that he makes 'calculated abstractions' and that he wish to 'suppress sentiment not only in himself but in the spectator'.. .It is thus clear that he has not become a mechanic, but that the progress of science, of technique, of machinery, of life as a whole, has only made him into a living machine, capable of realizing in a pure manner the essence of art.”
Piet Mondrian (1872–1944) first seen 1937 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote in: 'Plastic Art and Pure Plastic Art', Piet Mondrian (1937); in 'Documents of modern Art' ed. Robert Motherwell for Wittenborn, Schulz, New York 1945