246-247, 255-256, 259, 267; Art Institute of Chicago and Hirshorn Museum and Sculpture Gallery, Washington, D.C.). Ce fichier a été identifié comme étant exempt de restrictions connues liées au droit d’auteur, y compris tous les droits connexes et voisins. “The result is the height of equilibrium, an apogee,” Yve-Alain Bois has proclaimed. Style: Neoplasticism. The Hague, Genootschap Pulchri Studio, Expositions Sélectes d'Art Contemporain, December 1929-January 1930, no. Piet Mondrian’s Paris Studio, 26 Rue du Départ, Installation view with four paintings to be sent to The Amsterdam ABS exhibition in November 1929. Never again in his career would Mondrian achieve this same degree of concentration and clarity; the classical type, which has its inception in the present painting, was the apex. Pour plus de détails, voir Commons:Quand utiliser le bandeau PD-Art. Piet Mondrian, Composition No. Piet Mondrian, Composition with Yellow, 1930. By 1932, Mondrian had come to feel that he had exhausted the potential of the present compositional type, with its now-familiar central crossing and inscribed white square, which had seen such astonishingly fruitful development during the preceding three years. “Thus he finishes with the magisterial type that marks the conclusion of his classic neo-plastic style,” Bois has declared. III, with Red, Blue, Yellow, and Black is the inaugural canvas in a sequence of paintings–nine in total, all close variations on the same compositional type–that represents the very peak of Mondrian’s classicism and the culmination of the entire previous decade’s efforts. M. Butor, "Notes autour de Mondrian" in Tout l’œuvre peint de Piet Mondrian, Paris, 1976, p. 7. (Expositions Sélectes d’Art Contemporain), at the Stedelijk Museum in Amsterdam; the present canvas was part of this group and is the only one of the four that has been identified with certainty. Then he experimented with doubling both arms of the central crossing or all the lines in the composition (nos. The artist had relocated definitively from Holland to Paris exactly ten years earlier and within months of his move had achieved his canonical neo-plastic vocabulary, a radically reduced set of formal means comprising straight black lines and planes of primary color or “non-color” (white, black, and gray). Fichier d’origine ‎(2 872 × 2 861 pixels, taille du fichier : 2,2 Mio, type MIME : image/jpeg). 206), that Mondrian lowered this central crossing, creating four quadrants of similar–but still not identical–dimensions and proportions. Mondrian’s starting point for this powerfully distilled and exquisitely resolved composition was a pair of intersecting black lines that meet just below and to the left of the middle of the canvas, which itself is perfectly square. Mondrian immediately recognized the rich potential of this new compositional type and embarked upon an extended sequence of variations, of which fully half are housed in museum collections today (Joosten, nos. “Composition with Red Blue and Yellow” marks a beginning point in his ability to endow his pictures with that energy. 205). The present painting itself also has a provenance of great distinction. Location Unknown. signed with initials and dated 'PM 29' (lower right); signed again 'P MONDRIAN' (on the stretcher); inscribed 'HAUT N: III' (on the reverse of the artist's frame) Sketch in a letter by Mondrian to Albert van den Briel, 1931. Asymmetrical cross, heavy bottom right quadrant–Mondrian now had a twin disequilibrium, which he turned to color to resolve, opposing a large red rectangle in the top left corner with smaller yellow, blue, and black rectangles at the bottom right. Painted in 1929, Composition No. Gebruiker:Multichill/Lijst van schilderijen van Piet Mondriaan, Wikidata:WikiProject sum of all paintings/Creator/Piet Mondrian, https://fr.wikipedia.org/wiki/Fichier:Piet_Mondrian_-_Composition_No._III,_with_red,_blue,_yellow_and_black,_1929.jpg. Abstraction-Création, Paris, 1932, no. Genre: abstract. to be an itinerant exhibition, which would begin in the Netherlands and then tour throughout Europe, changing locations each month. 121 (illustrated in color). {{Information |description={{en|1=Composition No. Composition c no iii with red yellow and blue by Piet Mondrian (1935) quantity Add to cart SKU: TSH168 Category: Wall Art Tags: Mid Century Modern Art , Painting , Piet Mondrian , Top World Artists A painting by Dutch artist Piet Mondrian sold Thursday for $50.56 million at a Christie's auction in New York, the most ever paid for his work. 1, p. 25 (illustrated). Private collection, Europe (acquired from the above, 1971); Estate sale, Christie's, New York, 14 May 1997, lot 9. Ce fichier et sa description proviennent de Wikimedia Commons. Ottolenghi, L'opera completa di Mondrian, Milan, 1974, p. 112, no. It was not until he painted the present composition, which has as its closest immediate precedent Composition, with Red, Blue, Yellow, and Black in the Guggenheim (1929; Joosten, no. Piet Mondrian, Composition (No. 3. Rather, the canvases represented for the artist a microcosm of his utopian vision of the world. The artist had experimented intermittently since 1927 with the use of two principal axes to divide the picture from edge to edge, but these had typically crossed high up on the canvas. cat., op. cit., 1994, p. 57). 280 and 387, no. I never saw him with any other working tool. // The artwork featured is Composition No. Amsterdam, Stedelijk Museum, Expositions Sélectes d'Art Contemporain, October 1929, no. cat., op. For reasons unknown, this sale did not proceed, and in 1930, Mondrian instead gifted the canvas to his close friend Michel Seuphor, who later wrote one of the major studies on the artist. “Although Mondrian always worked in series, never before did he show such concentration and consistency within a single type,” Joop Joosten has written. III: “It is important to examine the paint surface and the manner of painting (lovers of fury, passion, and gesture do not attach importance to such matters). Artist's frame: 24 x 24 in. Vous devez aussi inclure un modèle indiquant pourquoi cette œuvre est dans le domaine public aux États-Unis. J. M. Joosten, "De sporen van het penseel: Textuur in het werk van Mondriaan" in Jong Holland, December 1993, pp. Nelly van Doesburg originally intended E.S.A.C. 128 (illustrated). Artist photo: oil on canvas in the artist's painted frame The artist quickly perceives what appears in nature only as veiled in form: universal plastic expression” (The New Art–The New Life: The Collected Writings of Piet Mondrian, Boston, 1986, p. 230). Thus galvanized, he went on to triple and even quadruple lines, narrowing and widening the intervals between them as he proceeded, creating new relationships among the well-established expressive means (nos. Piet Mondrian (1872-1944) 100% satisfaction guaranteed. André Kertész, [Piet Mondrian, Enrico Prampolini, Michel Seuphor], 1926. Kunsthaus, Zürich, Piet Mondrian, May-July 1955, p. 53, no. Le droit d'auteur expire en Côte d'Ivoire 99 ans après la mort et après 75 ans au Honduras, mais ces pays appliquent la règle du terme le plus court. 29 7/8 x 20 5/8" (76 x 52.4 cm). Théodore Bally, Montreux (acquired from the above, circa 1950). The Solomon R. Guggenheim Museum, New York. 346). Taking this classical configuration, of which he remained justifiably proud, as his springboard, he began to double the lines, a strategy that proved to have far-reaching consequences for his art. Museum Boymans-van Beuningen, Rotterdam. Les autres wikis suivants utilisent ce fichier : Une page de Wikipédia, l'encyclopédie libre. The classical type serves as a solid platform on which Mondrian can test his sabotage” (exh. III, with Red, Blue, Yellow, and Black, 1929 cat., op. "Composition No. “To be concerned exclusively with relations,” he continued four years later, “while creating them and seeking their equilibrium in art and life, that is the good work of today, that is to prepare the future” (quoted in ibid., p. 168).

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