The Architect of a New Visual Language

Piet Mondrian (1872-1944) is regarded as one of the foremost pioneers of abstract art. His work, characterised by straight lines, primary colours, and a quest for balance, has become a universal symbol of modernity. Mondrian’s unique vision of art, which he captured in the style of neoplasticism, not only transformed visual art but also inspired architecture, design, and even fashion. Behind his seemingly simple works lies a profound philosophical pursuit: a desire for harmony and purity, a reflection of a universal order.

Early Years: The Beginning of an Artistic Journey

Pieter Cornelis Mondriaan was born in 1872 in Amersfoort, the Netherlands, into a family where both art and religion were highly valued. His father was a school principal and amateur artist, and his uncle, Frits Mondriaan, was an established landscape painter. It was therefore natural that young Piet was drawn to painting from an early age. In his early work, Mondrian often painted Dutch landscapes and still lifes, incorporating influences from the Hague School and Impressionism. These paintings, often in subdued colours, reveal a love for nature and a sensitivity to light.

A well-known anecdote recounts how young Mondrian once painted outdoors on a winter’s day, so absorbed in his work that he lost all sense of time and temperature. His family eventually had to go out and bring him back indoors, as he had been painting for hours in the freezing cold. This intense dedication and concentration would characterise his work ethic throughout his career.

The First Steps Towards Abstraction: Letting Go of the Observable World

Mondrian’s initial steps towards abstraction occurred in the early 1900s when he came under the influence of new movements such as Symbolism and Fauvism. He began experimenting with increasingly expressive and intense colours. In works such as The Red Tree and The Grey Tree, we see him gradually departing from traditional landscape painting in search of the essence of form and colour.

In 1911, Mondrian moved to Paris, where he was introduced to Cubism. Encountering the work of Pablo Picasso and Georges Braque marked a turning point in his style. Cubism taught him how to deconstruct and abstract reality. Mondrian viewed nature as a starting point, but he sought its essence, the ‘internalisation’ of forms. He later wrote, “Nature is beautiful, but it is not the ultimate truth.” He believed that through abstraction, he could get closer to the truth of things.

The Emergence of Neoplasticism: A New Visual Language

In 1917, Mondrian temporarily returned to the Netherlands due to the First World War. There, he met Theo van Doesburg, a like-minded artist who, like him, was in search of a universal visual language. Together, they founded the De Stijl art movement, which promoted a radically new aesthetic based on balance and harmony. Mondrian called his own style ‘neoplasticism,’ a form of art limited to horizontal and vertical lines and the primary colours red, yellow, and blue, supplemented by black, white, and grey.

For Mondrian, neoplasticism was not merely an artistic style but a life philosophy. He believed that through pure geometric forms and basic colours, the world could achieve an inner harmony. The use of horizontal and vertical lines symbolised the polarity of forces, such as the masculine and feminine, the physical and the spiritual. Mondrian argued that art, like nature, should strive for a harmonious balance between opposing forces. In works such as Composition with Red, Blue, and Yellow and Victory Boogie Woogie, we see him perfectly embody these ideals.

An anecdote from this period describes how Mondrian transformed his Paris studio to reflect his neoplastic vision. Everything in his studio—from the furniture to the walls—was arranged according to his principles, with strict lines and primary colours. He used his workspace as a visual manifestation of his art theories, a tangible embodiment of the world as he envisioned it.

Technique and Composition: An Eye for Detail and Balance

Mondrian’s approach was meticulous and methodical. He worked slowly, taking time to place each line and colour block in precisely the right spot. His compositions may appear simple at first glance, but they result from endless arrangements, rearrangements, and refinements. He often used high-quality linen and mixed his own paints to achieve the desired intensity and texture.

Mondrian used a grid as the foundation for many of his works. He would set out horizontal and vertical lines, which he then filled in with colour blocks. This process required immense concentration and precision. A fellow artist once described how Mondrian could spend entire days adjusting a single line, as he believed it had to achieve perfect balance with the rest of the work. This attention to detail and balance made his work unique and unmistakable.

Composition A (1920) by Piet Mondrian

Art Philosophy: The Harmony of Opposites

Mondrian’s art philosophy centred on the pursuit of harmony. He saw the world as a balance of opposing forces, such as the material and the spiritual, the static and the dynamic. By balancing these forces in his work, he hoped to create a new form of beauty and order.

Mondrian believed that art had the potential to elevate humanity to a higher consciousness. He considered art a spiritual practice, a way to enrich the inner life. His vision of art was almost mystical: he saw his work as a means of connecting with universal truth. His pursuit of perfection and harmony reflected his own inner quest for meaning and purpose.

In his writings, as documented in Piet Mondrian: Life and Work by Cees W. de Jong, he argued that art could reveal the “higher reality.” He believed that the abstract forms and colours in his work served as a bridge between the visible and invisible worlds. For him, art was not mere decoration but a form of spiritual meditation, an attempt to understand and embody the universal laws of nature.

Personal Life and Struggles: The Artist as a Recluse

Mondrian led a relatively withdrawn life. Although he was part of the vibrant art scenes in Paris and later in New York, he was often described as a loner. He was a perfectionist who strictly controlled his surroundings. His studio was his sanctuary, a space where he could work with complete focus.

An anecdote from friends recounts how he could talk for hours about his work and philosophy but seemed barely interested in daily life. He always ate simple meals, had no interest in luxury, and preferred to devote his time to art rather than social obligations. Yet Mondrian had a few intense friendships with other artists, including Theo van Doesburg, with whom he had many philosophical discussions about the future of art.

His personal life, however, was not without hardship. The pressures of moving and financial concerns were constant in his life. When the Second World War loomed, Mondrian moved to New York, where he could further develop his artistic vision, though new challenges awaited him. He continued working on his final masterpiece, Victory Boogie Woogie, until the end of his life, a work that captures a rare sense of dynamism and freedom, expressing a vibrant celebration of life.

Legacy: The Timeless Impact of Mondrian’s Work

Mondrian’s work has left an indelible impact on modern art. His quest for a universal language of form and colour has inspired artists, architects, and designers worldwide. Neoplasticism, initially a small movement, grew into a symbol of modernism. His clean, harmonious compositions continue to fascinate audiences and challenge them to look beyond the surface and see the underlying structures and forces at play.

In museums around the world, Mondrian’s works remain a source of inspiration and admiration. His vision and philosophy remind us of art’s power to seek the intangible, to find beauty in simplicity and balance, and to connect us to something greater than ourselves.

Sources:

1. "Piet Mondrian: Life and Work" by Cees W. de Jong

2. "Mondrian: The Art of Destruction" by Hans Janssen

3. "Piet Mondrian: 1872-1944" by Yve-Alain Bois

4. "Piet Mondrian: The Man Who Changed Everything" by Hans Janssen, Benno Tempel, and Lieke Wijnia

5. "Piet Mondrian: A New Art for a Life Unseen" by Hans Janssen

6. "Piet Mondrian: Evolution" by Katjuscha Otte, Ingelies Vermeulen, and Marjory Degen

7. "The Studios of Piet Mondrian" by Marty Bax

8. "Women in the Life of Piet Mondrian" by Katjuscha Otte and Ingelies Vermeulen