He settled at Laren, where he became acquainted with M. In his work, the artist had long been moving toward seeing the canvas as a site of spiritual awakening for the viewer; this achieved theosophy’s goal of bringing about a state of heightened consciousness during the experience of everyday life.
With the ideas of Schoenmaekers, he now had a distinct set of graphic rules, closely related to his own developing formal vocabulary, through which he could achieve this goal of merging art and life.
During this period he continued to attend evening courses at the academy for drawing, impressing his professors with his self-discipline and effort. Up to the turn of the century, Mondrian’s paintings followed the prevailing trends of art in the Netherlands: landscape and still-life subjects chosen from the meadows and polders around Amsterdam, which he depicted using subdued hues and picturesque lighting effects.
In 1903 he visited a friend in Brabant (Belgium), where the calm beauty and clean lines of the landscape proved to be an important influence on him.
In (1910–11), a triptych of three standing human figures, the human figure and architectural subjects look surprisingly similar, thus stressing Mondrian’s move toward a painting grounded more in forms and visual rhythms than in nature.
In 1910 Mondrian’s Luminist works attracted considerable attention at the St. The next year he submitted one of his more abstract paintings to the Salon des Indépendants in Paris, his first bid for international recognition. The Dutch avant-garde began to call for new standards in their national art that would incorporate such trends and move beyond traditional landscape painting.
Almost immediately he began to adapt the precepts of Cubism to his own use, as evidenced in two versions of , done during the winter months of 1911–12.
Piet Mondrian, original name Pieter Cornelis Mondriaan, (born March 7, 1872, Amersfoort, Netherlands—died February 1, 1944, New York, New York, U.
S.), painter who was an important leader in the development of modern abstract art and a major exponent of the Dutch abstract art movement known as De Stijl (“The Style”).
In the first version, the objects are rendered as recognizable forms from everyday life; in the second, he transformed the same objects into compositional structures, taking his drive toward abstraction further than he ever had before. His compositions of trees, architectural facades, and scaffoldings during this period are proof of his urge to reduce individual forms to a general formula.
Mondrian kept somewhat within the boundaries of Cubism by utilizing the Cubists’ limited colour palette of ochre, brown, and gray, so as not to distract from form, and by painting large blocks of colour.