26 Oct — 17 Feb 19
Piet Mondrian (1872-1944), together with Kasimir Malewitsch and Wassily Kandinsky, is one of the most prominent representatives of abstract geometric art. In this exhibition, developed in close cooperation with the Gemeentemuseum Den Haag, Museum Wiesbaden presents a painter who played a decisive role in the radical transformations taking place at the turn of the 20th century. Certainly by the time the artist group "De Stijl" was founded in Leiden in 1917, Mondrian, with his strictly geometric works executed chiefly in primary colors, had become one of the most significant artists of Classical Modernity.
Beginning with his little-known naturalist paintings of the mid-1890s, the exhibition traces the stages of Mondrian's artistic development from a phase of abstraction between 1908 and 1917 through to his works of pure abstraction.
Mondrian explains this remarkable development in a letter from 1919, in which he describes his approach: "I am working on something like a reconstruction of the starry sky, but I am trying to do it without reference to nature." The conceptual starting point of his work, even at this late stage, remains existing reality, but the final result, the abstract painting, no longer reconstructs this reference to nature. Mondrian seems to have completely severed the tie between art and nature. But is it really? The retrospective exhibition "Nature and Construction" poses this decisive question.
The exhibition is under the patronage of Wepke Kingma, Assessor to the Kingdom of the Netherlands
The depiction of the farm in Nistelrode of 1904 is still naturalistic, however signs of his later, grid-like abstractions are already showing.
Mondrian's popular "Composition with Large Red Surface and Yellow, Black, Grey and Blue" was created in 1921 and is one of the artist's first neoplastic works.
The consistent black-and-white nature of these graphic works emphasizes the artist's ever-present structural approach to the objects he chooses. Mondrian's graphic work already points to the complete absence of objects as the primary material and basis of our visible, superficial world.