Red and Black Simple Art Red and Black Line

Mod Art

1921

Piet Mondrian
Dutch, 1872–1944

Although Piet Mondrian'southward abstractions may seem far removed from nature, his basic vision was rooted in landscape, specially the flat geography of his native Holland. Beginning with his early naturalistic landscapes, he reduced natural forms to their simplest linear and colored equivalents to suggest their unity and order. Eventually he eliminated such forms altogether, developing a pure visual language of verticals, horizontals, and main colors that he believed expressed universal forces.

In Lozenge Composition with Yellow, Black, Blue, Red, and Gray Mondrian rotated a square canvas to create a dynamic relationship between the rectilinear composition and the diagonal lines of the edges of the sail. Deceptively elementary, his works are the upshot of abiding adjustment to achieve absolute rest and harmony, and they reveal an exacting attention to the subtle relations between lines, shapes, and colors. The artist hoped that his paintings would point the fashion to a utopian future. This goal was first formulated in The netherlands effectually 1916–17 by Mondrian and a small grouping of like-minded artists and architects who collectively referred to their aesthetic equally De Stijl (The Way). Their ideas accept been extraordinarily influential for all aspects of modern pattern, from architecture and fashion to household objects.

Status: Currently Off View
Department: Modernistic Art

Artist: Piet Mondrian
Title: Lozenge Composition with Xanthous, Black, Bluish, Ruby-red, and Gray
Place: Netherlands (Object fabricated in)
Date: 1921
Medium: Oil on canvass
Inscriptions: Signed, l.c.: "PM/21"
Dimensions: lx × threescore cm (23 v/8 × 23 v/8 in.)
Credit Line: Souvenir of Edgar Kaufmann, Jr.
Reference Number: 1957.307
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich admission to digital media from libraries, archives, museums, and other cultural institutions around the world. Acquire more.: https://api.artic.edu/api/v1/artworks/109819/manifest.json

Henry McBride, "Rockefeller, Whitney, Senior, Odets, Colin," Fine art News 50 (June/August 1951), p. 34 ff. (ill.).
Michel Seuphor, Piet Mondrian: Life and Work (New York, 1956), p. 392, no. 400.
Ottavio Morisani, Fifty'Abstrattismo die Piet Mondrian (Venice, 1956), no. 66.
The Art Institute, Paintings of the Art Found of Chicago (Chicago, 1961), pp. 317, 342 (ill.).
Carlo Fifty. Ragghianti, Mondrian eastward l'arte del Xx secolo (Milan, 1962), p. 334, no. 568.
El Mundo de Los Museos, Instituto de Arte de Chicago (Madrid, 1967), p. 79 (ill.).
L'Opera completa di Mondrian, Classici dell'Arte 77 (Milan, 1974), p. 108, no. 336.
A. James Speyer and Courtney Graham Donnell, Twentieth-Century European Paintings (Chicago, 1980), p. 58, no. 3A6.
Impressionist and Modern Paintings and Sculpture (Function I) (New York: Christie's, Tuesday, May xv, 1990), p. 152.
John Milner, Piet Mondrian (London, 1992), pp. 164-165 (ill.).
Carel Blotkamp, Mondrian: The Fine art of Devastation (London, 1994), pl. 131.
James Due north. Wood and Teri J. Edelstein, The Art Constitute of Chicago: Twentieth-Century Painting and Sculpture (Chicago, 1996), p.49 (ill.).
Briony Fer, On Abstract Fine art (New Oasis, 1996), pp.50-52 (ill.).
Joop Thousand. Joosten, Piet Mondrian: Catalogue Raisonné of the Work of 1911-1944 (New York, 1998), no. B127, pp. 48 (sick.), 295.
James N. Woods, Treasures from the Fine art Institute of Chicago (Chicago, 2000), p. 259 (ill.).
Matthew Due south. Witkovsky and Devin Fore, ed. Revoliutsiia! Demonstratsiia! Soviet Fine art Put to the Text. Exh. Cat. Art Constitute of Chicago, 2017, cat. 540, p. 312.

Hartford, Wadsworth Atheneum, Abstract Art: Gabo Pevsner Mondrian Domela, 1935.
Amsterdam, Stedelijk Museum, Piet Mondrian, November-Dec 1946, no. 110; traveled to Basel, Kunsthalle, February 6-March ii, 1947, no. thirteen.
New York, Museum of Modern Art, Selections from V New York Individual Collections, Summer 1951.
New York, Sidney Janis Gallery, Piet Mondrian, February 5-March 17, 1951, no. 21.
Chicago, Fine art Institute, Mondrian: The Procedure Works, October iii-November viii, 1970, no. 5.
Washington, D.C., National Gallery of Art, Mondrian: The Diamond Compositions, July 1-September 16, 1979, no.5.
Haags, Gemeentemuseum, Piet Mondrian, December 18, 1994-April xxx, 1995; traveled to Washington, National Gallery of Art, June 11-September four, 1995, and New York, Museum of Mod Fine art, Oct i, 1995-January 23, 1996, cat. no. 95 (ill.).
Chicago, Terra Museum of American Fine art, A Transatlantic Avant-Garde: American Artists in Paris, 1918–1939, April 17–June 27, 2004.
The Art Institute of Chicago, Henri Cartier-Bresson and the Art and Photography of Paris, September 20, 2008–Jan 4, 2009.
Paris, Centre Pompidou, Musée National d'art moderne, Mondrian, December 1, 2010–March 21, 2011, p. 223.
Fine art Establish of Chicago, Revoliutsiia! Demonstratsiia! Soviet Art Put to the Test, Oct 29, 2017–January 15, 2018, cat. 540.
Art Institute of Chicago, André Kertész: Postcards from Paris, Oct. 2, 2021–Jan. 17, 2022, not in cat.; Atlanta, High Museum of Art, Feb. 18–May 29, 2022 (Chicago only).

Consigned to Galerie de "L'Effort Moderne" (Léonce Rosenberg), Paris, 1921-22. Jakob von Domselaer and Maaike von Domselaer-Middelkoop, Bergen, the Netherlands, 1922(?)-1940/45. John Rädecker, Groet, the netherlands, 1940/45-c. 1948. John 50. Senior, Jr., New York, by 1949-1956 [letter of the alphabet from Sidney Janis Gallery in curatorial file]. Sidney Janis Gallery, New York, 1956. Edgar Kaufmann, Jr., New York, March one, 1957; given to the Art Institute, 1957.

Object information is a work in progress and may be updated as new research findings emerge. To help meliorate this tape, please email . Information about image downloads and licensing is bachelor here.