Gift of Philip Johnson. Mondrian would place his non-white blocks of colour in a way that equalled out across the canvas, whilst many new to his work would simply pick up so-called randomness of colour. Composition II in Red, Blue, and Yellow, 1929; Composition London, 1940-42; New York City 1, 1942 ; Broadway Boogie-Woogie, 1942; Victory Boogie-Woogie, 1944; Tableau No. Piet Mondrian Composition No. B212 Composition No.II with Red, Blue, Black and Yellow, 1929 Oil on canvas, 45x45 cm Signed lower left in black on blue: P M '29 Narodni Muzej, Belgrade, donation of the Committee for the Propagation of the Knowledge of Dutch Art in Yugoslavia S508, O388, B- Oil on canvas. Piet Mondrian. II, with Red and Blue, oil on canvas, 1929 (original date partly obliterated; mistakenly repainted 1925 by Mondrian), oil on canvas, 15 7/8 x 12 5/8″ / 40.3 x 32.1 cm (Museum of Modern Art, New York) The Sidney and Harriet Janis Collection. Composition II in Red, Blue, and Yellow, 1929; Composition London, 1940-42; New York City 1, 1942; Broadway Boogie-Woogie, 1942; Victory Boogie-Woogie, 1944 ; Tableau No. Piet Mondrian, Composition No. Piet Mondrian - Composition No. Piet Mondrian: Painting "Composition No. by Johannes Vermeer. Triangulated Farmhouse Facade with Blue Polder, Triangulated Farmhouse Facade with Polder in Blue, View from the Dunes with Beach and Piers, 1909, Composition: Checkerboard, Dark Colors, 1919, Composition II in Red, Blue, and Yellow, 1929, Tableau Through De Stijl, Mondrian and van Doesburg galvanized an artistic response to what they believed would be the beginning of a new era after World War I, where art and life would be integrated. Mondrian composed this painting as a harmony of contrasts that signify both balance and the tension of dynamic forces. Composition with Red and Blue. 1930 C.E. To Mondrian geometry was a spiritual principle, a manner of establishing a new universal order vis-à-vis the chaos of nature. Thick, black brushwork defines the borders of the different geometric figures. II, with Red and Blue, oil on canvas, 1929 (original date partly obliterated; mistakenly repainted 1925 by Mondrian).Oil on canvas, 15 7/8 × 12 5/8″ (40.3 × 32.1 cm), (The Museum of Modern Art) Oil on canvas. 486.1941. 635.1967. Composition No. 16 1/4 x 13 1/8" (41.2 x 33.3 cm). His Composition in Red, Blue, and Yellow (1930), with its gridded black lines locking squares of color into a geometric composition, exemplifies the visual vocabulary he created to express his ideas. which must be resolved anew in every work. Oil on canvas. A blue rectangle can be seen on the bottom left, while a yellow rectangle appears cut off on the bottom right corner. Composition No. II, with Red and Blue. Composition No. II, with red and blue" als hochwertiges Bild gesucht? Actually, the Composition II in Red, Blue, and Yellow, 1930 Avoiding references to the real world, and using only the primary colors (red, blue, and yellow), the primary values (black, white, and grey), and the primary directions (horizontal and vertical), Piet Mondrian created abstract paintings through which he sought to reveal universal harmony and order. Around 1930 Mondrian's art attained a highpoint of purity and sobriety, for which the groundwork had been prepared in the paintings of the previous years, the 1929 Composition, for example. II with red, yellow and blue” by Piet Mondriaan from 1930. Composition II with Red, Blue and Yellow exemplifies Mondrian’s theory of neo-plasticism. This is the currently selected item. ‘Composition C (No.III) with Red, Yellow and Blue’ was created in 1935 by Piet Mondrian in Neoplasticism style. For example, Woman with a Water Jug III, with Red, Blue, Yellow and Black," a geometric oil painting made in 1929, sold at an impressionist and modern art auction for more than twice its maximum estimated value, which Christie's said … Oil on canvas. II 1921—25, with red, blue, black, yellow and gray 1921/1925 (first State) 1922: Mondrian. Home; Mondrian Trust; Tableau, with yellow, black, blue, red, and gray 1923 : 1923: Mondrian and Nelly Van Doesburg in atelier 26, ave du depart. ‘Composition C (No.III) with Red, Yellow and Blue’ was created in 1935 by Piet Mondrian in Neoplasticism style. Piet Mondrian, Composition No. 15 7/8 x 12 5/8" (40.3 x 32.1 cm). oil on canvas. Bella Arte Pittore Astratto Statue De Stijl Piet Mondrian … II, with Red and Blue 1929 (original date partly obliterated; mistakenly repainted 1925 by Mondrian) Piet Mondrian Composition with Red and Blue 1933 Piet Mondrian, Tableau No:2 1921-25 With Red Blue Black and Gray Buy Oil Painting Canvas Selling: Arthipo offers you only artistic prints, the printed works are similar to the original works, and the paintings are carefully prepared by considering the aesthetic criteria, then they are examined from as artistic by professional painters. Stepanova, The Results of the First Five-Year Plan. Contact Us | Terms of Use | Links Painting and Sculpture Pittore Dipinti Astratto Immagini Sfondo Bianco Colori Arte Mondrian Piet Mondrian Painting. 486.1941. Thick black lines now separate the forms, which are larger and fewer in number, and more of the forms are left white. is a variation on the picture of the preceding year, at least in so far as the linear framework is concerned. IV; Lozenge Composition with Red, Gray, Blue, Yellow, and Black, c. 1924/1925. II, with Red and Blue. II with Red, Blue, Black, Yellow, and Gray 1925 The Sea 1912 Geinrust Farm in Watery Landscape c. … 15 7/8 x 12 5/8" (40.3 x 32.1 cm). A well-known work of art, Mondrian contributes to the abstract visual language in a large way despite using a relatively small canvas. Mondrian had himself been moving towards a much more abstract and unique mode of … The canvas is small and uses only the simplest of … Photo: Archives RKD, '5-Gravenhage. Accession Number. II, with Red and Blue - 1929 - Oil on canvas - 40.3 x 32.1 cm Help Smarthistory continue to make a difference, Help make art history relevant and engaging, An Introduction to photography in the early 20th century, Representation and abstraction: looking at Millais and Newman, Pablo Picasso and the new language of Cubism, Georges Braque and Pablo Picasso: Two Cubist Musicians, The Cubist City – Robert Delaunay and Fernand Léger, Russian Neo-Primitivism: Natalia Goncharova and Mikhail Larionov, De Stijl, Part II: Near-Abstraction and Pure Abstraction, De Stijl, Part III: The Total De Stijl Environment, Surrealist Techniques: Subversive Realism, Geometric Abstraction in South America, an introduction, Breaking the Frame – the Concrete Art Movement, Painting in an Industrial Age – the Concrete Art Movement, The Challenge of a Straight Line – the Concrete Art Movement, The origins of modern art in São Paulo, an introduction, An Antidote for Social Amnesia: The Memory Space of the, International Style architecture in Mexico and Brazil. 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