Piet Mondriaan Klok Two Black Lines

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Piet Mondrian Two Black Clock

Beautiful original 40x40 cm ground glass clock with a working composition with two black lines. by Piet Mondrian in 1931 executed in silkscreen on glass. with description and signature on the back Piet Mondrian.

Piet Mondrian was on March 7, 1872 to the short canal in Amersfoort born [1] son of a strict Christian headmaster, Pieter Cornelis Mondrian and his wife Johanna Christina de Cook. [2] He was baptized in the Dutch Reformed Church and was raised a Christian . Because his mother was often sick, led his sister Christine, less than eight years old the household. [3] His father was also a sign next headmaster teacher [4] and taught him early signs. In April 1880 the family moved to Winterswijk Mondrian, Mondrian where father was head of the School for Christian National Education. [5]

Training
In July 1884 Mondrian completed primary school and fulfilled the compulsory education by two years additional primary education. From 1886 he worked under the guidance of his father to the achievement of the Primary Education Act Freehand drawing. Here he received occasional help from his uncle, the amateur painter Frits Mondriaan. On December 11, 1889 he took the instrument, which enabled him to teach his father's elementary school. In the ensuing period he worked on the achievement of the Secondary Education Act Hand Drawing and Perspective, to include the secondary school and possibly teach at the Academy to study. For this he took classes in drawing, painting and art history teacher at the painter Jan Braet von Überfeldt, who after his retirement drew near Doetinchem. May-June 1890 was the first work of Mondrian exhibition in The Hague (see Exhibition of Piet Mondrian), which was well received. In February 1892 he received a scholarship from Queen Emma and in April, he exhibited works at Art Society Charity in Utrecht, where he is now a member of it. In September of that year he won the Secondary Education Act [6] and moved directly to Amsterdam, where he enrolled in October at the State Academy of Fine Arts for the daytime course painting. He studied August Allebé director, Nicholas van der Waay (painting) and CL Dake (signs). [7] On November 7, 1892, he settled for a friend of his father, JA Wormer, a bookstore for Christian literature to the Kalverstraat owned and, like Mondrian's father, a supporter of Kuyper was. [8] Wormer paid probably his tuition. [9] In order to further livelihood, he had various jobs. [10 ] about this he wrote: "When I started 22nd [1894/1895] a very difficult time for me. To my livelihood, I did all kinds of work: bacteriological drawings, paintings in museums copy, also gave me lessons. Then I started selling landscapes and I was glad I could earn just enough money to do what I wanted to do. [1] One of the 'museum' of which he was speaking at the Rijksmuseum. He also painted tiles, he designed bookplates, and he commissioned portraits. [7] In 1893, Mondrian did in Amsterdam confession for the Reformed Church, a very conservative church, which was closely related to the ARP. [9] In October 1893 and 1894 he enrolled again at the Academy, only the last year alone for the evening drawing program. [7] Also in 1894 he became a member of artists' Arti et Amicitiae, which he had access to the official exhibition circuit. In April 1895 he moved to the Ruysdaelkade [7] and in October of that year he enrolled in evening classes for a sign to get proficient in etching, in 1896 where he has an extra year to determine taped. In January 1897 he moved to the Ringdijk Watergraafsmeer. [11] probably through his fellow students he came in contact with the bohemian Amsterdam, whose base was in the "windmill without sails" to Tolstraat, on the outskirts of town. From there he made his first trips through the river and surrounding landscape. [8]

Period in the Netherlands

Mondrian Dutch period was characterized by unrest, he moved a lot, had so many addresses, especially in Amsterdam and beyond. Mondrian was also during this period plagued by psychological problems, which he occasionally retired. All year 1897, for example, were spent with his brothers in the countryside. [12] Later that year he returned again to Amsterdam and became a member of St. Luke Artist to exhibit his ability to increase. In December 1897 he went to live Stadhouderskade. [11] In 1898 he enrolled in the entrance examination of the Prix de Rome, but fell on the anatomy part. In September 1898 he was commissioned to paint four wooden relief panels for the pulpit in the English Church. [11] In December 1898 Mondrian rented an attic room in the Albert Cuyp Street 158, address of Mondrian's longest lived in Amsterdam. From around 1898 he gave private lessons to women from the better, reformed circles. [13] From late 1898 until summer of 1899 lived Mondrian with his parents to recover from pneumonia, which he on holiday with one of his leerlinges jumped . [14] In 1899 he was in the house of Dr.. Abraham van de Velde at Keizersgracht 608, and large ceiling mural with cherubs and an allegorical figure, symbolizing the four seasons. [11] His work from this period is free from religious and idealized scenes from the countryside. He also made some (self-) portraits and sentimental girl portrait Child (see Paintings), inspired like kitsch devotional pictures of the time. [15] In 1900 he became friends with the painter Arnold Gorter (1866-1933) and Simon Maris. Via Maris was the chic Mondrian in avant-garde art circles in Amsterdam correctly, including the Amsterdam Joffers belonged. He looked around this time to famous predecessors like Breitner and Isaac Israels, and he discovered the symbolism, which is clearly visible in his still lifes of chrysanthemums, a reference to the oriental (Japanese) world. [16] June 1900 he went with Hannah Crabb on holiday to Cornwall, but there was pneumonia and went after returning to the Netherlands to Winterswijk to recover. In September that year he met the student forest ranger and later, Albert van den Briel (1881-1971), which he built up a lasting friendship. In February 1901 he, like his father, a plate to commemorate the marriage of Queen Wilhelmina and Prince Hendrik. [17]

When he was in 1901 for half time participated in the prestigious Prix de Rome, he collapsed on the new part anatomy, which he has since then mainly focused on landscape painting. Disillusioned because he also sold almost nothing, wrong Mondrian in 1902-1903 left-wing circles. He would, according to Van den Briel, even involved in an "anarchist conspiracy". He would also around that time an identity or life crisis had. After ending the bloody railroad strike in 1903, he left in 1904, at the suggestion of Van den Briel Amsterdam [18] and settled in the North Brabant Uden. In his Udens period he painted many of what he found in his immediate environment: landscapes with cows, farms, sunsets, windmills, and a stable home. In an attempt to sell something he also painted floral still lifes. [19] Uden for the first time he explicitly talked about abstract principles of composition. "That does not occur naturally, but it is created. It's like we think about it, "said Mondrian. In July 1904 he became librarian of St. Luke. On January 27, 1905 he enrolled in an apartment on Albert Cuyp Street 272. He would be leaving for Paris in the pipe to live with a short break in February 1905 to Jun. 1906 when he was in the attic above artist's St. Luke in 1910 Rembrandt lived. [20] He then spent the winter of 1906 by in a farmhouse, idyllically situated on the edge of a forest, and drew in 1907 and 1908 several times to the moors in Otterlo. [21]

Gemeentemuseum Den Haag.Van around 1905-1907, he painted many landscapes around Amsterdam (Duivendrecht, the Curve Speed, Farm Land View, the Gein) and Oostzijdse Mill). In 1906 was in the Netherlands a major Van Gogh exhibition, which Mondrian incite painted by highly stylized landscapes at night (cf. eg Mondrian Landscape at night (1907-1908, private collection) with Van Gogh's The Starry Night (1889, Museum of Modern art)). [22] He did this to the "tragedy of nature 'to display. [23] He then spent his night scenes still further, emphasizing the reality (realism) is increasingly unleashed. By copying the spiritual-romantic work of Caspar David Friedrich, who 100 years before it was active, Mondrian came to the conclusion that the painting could only refer to other paintings and the perception of the painting was more important than the technology used it is made. [24]
In 1908, Mondrian was, after getting to know Jan Sluyters and Leo Gestel, more 'luminist' and expressive painting, and he began to paint portraits, such as Passion, a portrait of his new theosophical girlfriend Marie Simon (1887-1976). He also painted flowers in various stages of decay, a reference to the evolution of life. In 1908 he joined the "insiders" of the Theosophical Society, also called Borr, and he learned yoga. In the summer of that year he lived in Zeeland Domburg, where Charley Toorop him on the beach, sometimes in 'Buddha-posture "saw. He painted in Domburg new themes, such as dunes, seascapes and church towers. He then painted briefly in pointillist style. In everything he shows himself an artist searching the many currents of the time to consider options. In that year, he was under the influence of French neo-Impressionism and Fauvism striking colorful canvases almost aggressive, as Mill in Sunlight. Although work is still figurative, the angular images. This work made him famous in 1909 with one stone in the Netherlands where he is the symbol of the avant-garde was. On May 14, 1909 he volunteered as a member of the Amsterdam Lodge of the Theosophical Society on May 25 and was officially registered in the register of members in India [23].

The summer of 1909 he brought back from the coast of Zealand, where numerous paintings he made in this new style. He also knew a large number of paintings to sell and encouraged by this success he became engaged in 1909 to Greet Heybroek. That year, died unexpectedly Mondrian's mother, making him thoroughly in the war brought him and turned to self-destructive behavior [25].

Mondrian's work in 1910/1911 in two groups. First, he works full theosophical symbolism, most explicitly in the triptych Evolution (1910-1911), a woman in various stages of spiritual awakening suggests. Other part does its work from this period thinking that the Hague School and the Amsterdam Impressionists, but with a mystical symbolist slant can also be found by contemporaries as Matthijs Maris, Floris Verster and the Friesian artist Jan Mankes. During this period he painted portraits and still flowers. Major influence in that time, Jan Toorop on Mondrian work. On November 28, 1910 he and Spoor, Toorop and the Modern Art Society in Kickert, a Dutch progressive artists for artists.

In June 1911 was Mondrian in Paris, where he first was confronted with Cubism. In October 1911 was held at the Stedelijk Museum of Modern Art Circle exhibition first place where paintings of Mondrian with six participated. [26] including the Evolution triptych, which he for good sales at the bourgeois public. This is him, did not please the critics, who work "cold and empty" call. [27] This exhibition is work from French and Dutch expressionist and cubist artist pre-show. This was possible reunion of his new reason for his engagement with examples Heij Broek to break on December 20, 1911 and to Paris.

Paris: Cubism
Mondrian in Paris almost immediately changed its name to Mondrian. After a stay at the headquarters of the French branch of the Theosophical Society and the studio of Dutch artist Peter Alma in May 1912 he moved into a studio at 26 Rue de Départ, which later went to live Schelfhout Kickert and Leo. In Paris he met Henri Le Fauconnier, Fernand Léger and Gino Severini know who all expressionist-cubist style painted. He was unable to meet Picasso and Braque, but had he known what to do to get, often attended openings, so he quickly nicknamed 'Peter-see-you-me-not "received.

He threw himself wholeheartedly into the Cubist adventure. Braque and Picasso fragment were visible reality in their work and felt that the drawing was more important than color. Mondrian followed them to that effect after by painting with black lines, almost no color, mostly brown and gray. [28] A major difference between Mondrian and the Cubists was that he fragmented 'reality' by his theosophical views. This is shown by purely theosophical notes from his sketchbook that he used between 1912 and 1915, as "one sees in the art of slow growth to 't geestel. [Ijke], while the makers are unaware of it. The conscious way of teaching art suffers in most of them to corruption. Are these two roads together, ie that the author on the stairs of evolution is where conscious geestel. [Ijke] direct vigor possible, one has the [...] [perfect] art [29].

He painted in Paris, especially trees and orchards, where his work became increasingly naturalistic. He gave his paintings titles like Composition No. 9. But still had to Mondrian inspired by reality, by a blind wall, near his studio, for example, or by the sea. But in his later life he would see himself as a realist, "abstract realist". In 1914 he wrote the influential art educator HP Bremmer an enlightening letter: "I construct lines on a flat surface and color combinations with intent universal beauty conscious as possible to portray. [...] I want the truth as close as possible and therefore all abstract until I come to the foundation [...] of things. [...] I opine that it is possible by horizontal and vertical lines, but not constructed consciously calculating [...] zoonodig supplemented by other direction lines or curved lines, if necessary, to achieve a work of art is as strong as true.

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