LaurieAnnie's photos with the keyword: Mondrian

Piet Mondrian Composition with Color Planes 5 1917 Medium: Oil on canvas Dimensions: 19 3/8 x 24 1/8" (49 x 61.2 cm) Credit: The Sidney and Harriet Janis Collection Object number: 1774.1967 Department: Painting and Sculpture Text from: www.moma.org/collection/works/80692

Piet Mondrian Composition with Color Planes 5 1917 Medium: Oil on canvas Dimensions: 19 3/8 x 24 1/8" (49 x 61.2 cm) Credit: The Sidney and Harriet Janis Collection Object number: 1774.1967 Department: Painting and Sculpture Text from: www.moma.org/collection/works/80692

Composition with Blue, Yellow, and Red 1927 Piet Mondrian, Dutch, 1872–1944 Dimensions: Overall (Unframed): 40 x 50.5 cm (15 3/4 x 19 7/8 in.) Material: Oil on canvas Classification: Paintings Accession Number: 2009.5042 Text from: www.mfa.org/collections/object/composition-with-blue-yell...

Mondrian, Piet, Painting No. 9, 1939 -- 1942, Oil on canvas; 31 3/8 x 29 1/4 in.; 79.6925 x 74.295 cm. Gift from the estate of Katherine S. Dreier, 1953. Paintings, 1374, Dutch. probably acquired by 1942. On display in House, Dining Rm. Text from the Phillips Collection website.

Mondrian, Piet, Composition No. III, 1921 or 1922, repainted 1925, Oil on canvas; 19 3/8 x 19 3/8 in.; 49.2125 x 49.2125 cm. Acquired 1946. Paintings, 1376, Dutch. acquired by 1942 or earlier. Text from the Phillips Collection website.

Piet Mondrian. (Dutch, 1872-1944). Broadway Boogie Woogie. 1942-43. Oil on canvas, 50 x 50" (127 x 127 cm). Given anonymously Gallery label text 2006 Escaping to New York after the start of World War II, Mondrian delighted in the city's architecture, and, an adept dancer, was fascinated by American jazz, particularly boogie–woogie. He saw the syncopated beat, irreverent approach to melody, and improvisational aesthetic of boogie–woogie as akin to his own "destruction of natural appearance; and construction through continuous opposition of pure means—dynamic rhythm." Bands of stuttering chromatic pulses, paths of red, yellow, and blue interrupted by light gray suggest the city's grid and the movement of traffic, while the staccato vibration of colors evokes the syncopation of jazz and the blinking electric lights of Broadway. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 187 Mondrian arrived in New York in 1940, one of the many European artists who moved to the United States to escape World War II. He fell in love with the city immediately. He also fell in love with boogie-woogie music, to which he was introduced on his first evening in New York, and he soon began, as he said, to put a little boogie-woogie into his paintings. Mondrian's aesthetic doctrine of Neo-Plasticism restricted the painter's means to the most basic kinds of line—that is, to straight horizontals and verticals—and to a similarly limited color range, the primary triad of red, yellow, and blue plus white, black, and the grays between. But Broadway Boogie Woogie omits black and breaks Mondrian's once uniform bars of color into multicolored segments. Bouncing against each other, these tiny, blinking blocks of color create a vital and pulsing rhythm, an optical vibration that jumps from intersection to intersection like the streets of New York. At the same time, the picture is carefully calibrated, its colors interspersed with gray and white blocks in an extraordinary balancing act. Mondrian's love of boogie-woogie must have come partly because he saw its goals as analogous to his own: "destruction of melody which is the destruction of natural appearance; and construction through the continuous opposition of pure means—dynamic rhythm." Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Piet Mondrian. (Dutch, 1872-1944). Broadway Boogie Woogie. 1942-43. Oil on canvas, 50 x 50" (127 x 127 cm). Given anonymously Gallery label text 2006 Escaping to New York after the start of World War II, Mondrian delighted in the city's architecture, and, an adept dancer, was fascinated by American jazz, particularly boogie–woogie. He saw the syncopated beat, irreverent approach to melody, and improvisational aesthetic of boogie–woogie as akin to his own "destruction of natural appearance; and construction through continuous opposition of pure means—dynamic rhythm." Bands of stuttering chromatic pulses, paths of red, yellow, and blue interrupted by light gray suggest the city's grid and the movement of traffic, while the staccato vibration of colors evokes the syncopation of jazz and the blinking electric lights of Broadway. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 187 Mondrian arrived in New York in 1940, one of the many European artists who moved to the United States to escape World War II. He fell in love with the city immediately. He also fell in love with boogie-woogie music, to which he was introduced on his first evening in New York, and he soon began, as he said, to put a little boogie-woogie into his paintings. Mondrian's aesthetic doctrine of Neo-Plasticism restricted the painter's means to the most basic kinds of line—that is, to straight horizontals and verticals—and to a similarly limited color range, the primary triad of red, yellow, and blue plus white, black, and the grays between. But Broadway Boogie Woogie omits black and breaks Mondrian's once uniform bars of color into multicolored segments. Bouncing against each other, these tiny, blinking blocks of color create a vital and pulsing rhythm, an optical vibration that jumps from intersection to intersection like the streets of New York. At the same time, the picture is carefully calibrated, its colors interspersed with gray and white blocks in an extraordinary balancing act. Mondrian's love of boogie-woogie must have come partly because he saw its goals as analogous to his own: "destruction of melody which is the destruction of natural appearance; and construction through the continuous opposition of pure means—dynamic rhythm." Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Piet Mondrian. (Dutch, 1872-1944). Broadway Boogie Woogie. 1942-43. Oil on canvas, 50 x 50" (127 x 127 cm). Given anonymously Gallery label text 2006 Escaping to New York after the start of World War II, Mondrian delighted in the city's architecture, and, an adept dancer, was fascinated by American jazz, particularly boogie–woogie. He saw the syncopated beat, irreverent approach to melody, and improvisational aesthetic of boogie–woogie as akin to his own "destruction of natural appearance; and construction through continuous opposition of pure means—dynamic rhythm." Bands of stuttering chromatic pulses, paths of red, yellow, and blue interrupted by light gray suggest the city's grid and the movement of traffic, while the staccato vibration of colors evokes the syncopation of jazz and the blinking electric lights of Broadway. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 187 Mondrian arrived in New York in 1940, one of the many European artists who moved to the United States to escape World War II. He fell in love with the city immediately. He also fell in love with boogie-woogie music, to which he was introduced on his first evening in New York, and he soon began, as he said, to put a little boogie-woogie into his paintings. Mondrian's aesthetic doctrine of Neo-Plasticism restricted the painter's means to the most basic kinds of line—that is, to straight horizontals and verticals—and to a similarly limited color range, the primary triad of red, yellow, and blue plus white, black, and the grays between. But Broadway Boogie Woogie omits black and breaks Mondrian's once uniform bars of color into multicolored segments. Bouncing against each other, these tiny, blinking blocks of color create a vital and pulsing rhythm, an optical vibration that jumps from intersection to intersection like the streets of New York. At the same time, the picture is carefully calibrated, its colors interspersed with gray and white blocks in an extraordinary balancing act. Mondrian's love of boogie-woogie must have come partly because he saw its goals as analogous to his own: "destruction of melody which is the destruction of natural appearance; and construction through the continuous opposition of pure means—dynamic rhythm." Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Piet Mondrian. (Dutch, 1872-1944). Broadway Boogie Woogie. 1942-43. Oil on canvas, 50 x 50" (127 x 127 cm). Given anonymously Gallery label text 2006 Escaping to New York after the start of World War II, Mondrian delighted in the city's architecture, and, an adept dancer, was fascinated by American jazz, particularly boogie–woogie. He saw the syncopated beat, irreverent approach to melody, and improvisational aesthetic of boogie–woogie as akin to his own "destruction of natural appearance; and construction through continuous opposition of pure means—dynamic rhythm." Bands of stuttering chromatic pulses, paths of red, yellow, and blue interrupted by light gray suggest the city's grid and the movement of traffic, while the staccato vibration of colors evokes the syncopation of jazz and the blinking electric lights of Broadway. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 187 Mondrian arrived in New York in 1940, one of the many European artists who moved to the United States to escape World War II. He fell in love with the city immediately. He also fell in love with boogie-woogie music, to which he was introduced on his first evening in New York, and he soon began, as he said, to put a little boogie-woogie into his paintings. Mondrian's aesthetic doctrine of Neo-Plasticism restricted the painter's means to the most basic kinds of line—that is, to straight horizontals and verticals—and to a similarly limited color range, the primary triad of red, yellow, and blue plus white, black, and the grays between. But Broadway Boogie Woogie omits black and breaks Mondrian's once uniform bars of color into multicolored segments. Bouncing against each other, these tiny, blinking blocks of color create a vital and pulsing rhythm, an optical vibration that jumps from intersection to intersection like the streets of New York. At the same time, the picture is carefully calibrated, its colors interspersed with gray and white blocks in an extraordinary balancing act. Mondrian's love of boogie-woogie must have come partly because he saw its goals as analogous to his own: "destruction of melody which is the destruction of natural appearance; and construction through the continuous opposition of pure means—dynamic rhythm." Text from: www.moma.org/collection/browse_results.php?object_id=78682

Piet Mondrian. (Dutch, 1872-1944). Trafalgar Square. 1939-43. Oil on canvas, 57 1/4 x 47 1/4" (145.2 x 120 cm). Gift of Mr. and Mrs. William A. M. Burden. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Piet Mondrian (Dutch, 1872–1944. Worked in Paris 1912–14, 1919–38; in London 1938–1940; in New York 1940–44.) Trafalgar Square. 1939–43 Oil on canvas, 57 1/4 x 47 1/4" (145.2 x 120 cm) The Museum of Modern Art, New York. Gift of Mr. and Mrs. William A. M. Burden Text from: www.moma.org/collection/provenance/items/510.64.html