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Mondrian very often evokes a tendency toward a synthesis in the central area of the composition.

This is probably a way to emphasize the importance he attributes to unity in relation to multiplicity.

 

 

1 - Wood with Beech Trees, 1899

2 - Apples, Ginger Pot and Plate on a Ledge, 1901

3 - Stammer Mill with Streaked Sky, 1906-07

4 - Geinrust Farm in the Mist, 1906-07

5 - Thre Red Tree (Evening), 1908-10

6 - Study of Trees, 1912

7 - Composition II, 1913

8 - Pier and Ocean 5, 1915 9 - Checkerboard with Light Colors, 1919 10 - Composition with Yellow, Red, Black, Blue and Gray, 1920
 
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