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It is as though between 1907 and 1910 the painter extrapolated from 1 on the one hand the vertical of the mill which becomes the longitudinal space of mills, lighthouses and church towers (2, 4, 6)

 

 

1 - Stammer Mill with Streaked Sky, 1906-07

2 - Mill at Domburg, 1909

4 - The Red Mill, 1911

6 - Church Tower at Domburg, 1911

 

8 - Study of Trees, 1912

 

and on the other he extrapolated from the horizontal sky of 1 the extended space of the dunes (3, 5).

 

In the vertical trunk of a single tree the artist sees the unifying moment of a space that multiplies its appearances with the horizontal expansion of the branches.

What Mondrian sees in the structure of the branches was a metaphor of the multiform aspect of nature, which he inwardly perceived as a unity (the trunk).

Sometimes later, Mondrian wrote that the horizontal should be considered as a plastic symbol of the natural whereas the vertical represents the spiritual.

 

 

 

 

3 - Sea Toward Sunset, 1909

5 - Sea after Sunset, 1909

7 - The Red Tree (Evening), 1908-10

 

 

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