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1 - Composition II, 1913

2 - Tableau N. I, Compositie 7, 1914

3 - Tableau N. 2, Composition N. V, 1914

4 - Composition in Oval with Color Planes 1, 1914

5 - Composition N. iV, Compositie 6, 1914

6 - Composition in Oval with Color Planes 2, 1914

7 - Composition with Color Planes: Facade, 1914

8 - Tableau III, Composition in Oval, 1914

9 - Composition N. VI, Compositie 9, 1914

With Composition II (1) Mondrian comes close to a synthesis which generates from inside the composition and then works to reintroduce brighter colors.

 

The use of more contrasting colors tend to fragment the composition and therefore induce the painter to make use again of the oval in order to re-establish an acceptable level of unity of the whole (4).

 

The oval is in fact expressed in some cases with a bold black outline (4, 6, 8) whereas in other works the whole composition fades away toward the edges of the canvas and an oval shape can be glimpsed but with no visible outline as such (2, 3, 5). The oval appears to become more tenuous when the colors are more subdued and more clearly expressed when the colors accentuate the contrasts and thus the manifold aspect of the space.

 

With 6 Mondrian seems intent on expressing an internal synthesis which does not consist of form only (horizontal and vertical) as in 1, but of color as well. The highlighted area is in fact the only area where ochre, magenta and light blue aggregate in a self-contained and more stable pattern around a whitish rectangle. This suggests an embryonic state of a 1920 Neoplastic composition.

 

 

The painter is involved in a difficult game of balance between form and color, being concerned in this phase to make the structure of the Cubist space more unified while at the same time avoiding any undue sacrifice of color.

 
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