Mondrian In Paris

Introduction and Welcome

In this section, Jessica Sack welcomes the audience to the Yale University Art Gallery and introduces herself as the Jan and Frederick Mayer Curator of Public Education.

Introduction

• Jessica Sack welcomes everyone to the Yale University Art Gallery.

• She expresses gratitude for the presence of both in-person and online attendees.

• Jessica introduces herself as the Jan and Frederick Mayer Curator of Public Education.

Lecture Series by John Walsh

In this section, Jessica Sack introduces John Walsh and his four-part lecture series on "Looking at Mondrian". She provides background information about John's expertise and his association with the gallery.

Introduction to Lecture Series

• Jessica Sack introduces John Walsh as an art historian, curator, museum director, and teacher based in Los Angeles.

• She mentions that John graduated from Yale College in 1961 and earned his PhD from Columbia University.

• Jessica highlights John's long-serving role on the governing board at the Gallery.

• She acknowledges their close collaboration in training Wurtele Gallery teachers, graduate students who serve as museum educators.

• The training focuses on teaching skills in front of artworks through close looking techniques.

Teaching Methodology

In this section, Jessica Sack discusses the teaching methodology employed by the Gallery teachers. She emphasizes their focus on close looking techniques inspired by John Walsh's training.

Teaching Methodology

• The teaching method used by Gallery teachers is based on close looking and slowing down.

• This approach is inspired by John Walsh's training.

• Graduate students trained as museum educators refer to him as their art history coach.

Online Resources

In this section, Jessica Sack informs the audience about the availability of high-resolution images from the Gallery's collection on their website. She also mentions John Walsh's extensive public lectures available online.

Online Resources

• High-resolution images from the Gallery's collection can be accessed on their new website.

• John Walsh has given over 45 public lectures at the Gallery, which are also available online.

• Some notable lecture series include "Rembrandt Today" and "Turning Points" featuring Vincent Van Gogh.

• The lecture series is generously sponsored by the Martin A. Ryerson Lectureship Fund and the John Walsh Lecture and Education Fund.

Acknowledgments

In this section, Jessica Sack expresses gratitude to all attendees and acknowledges John Walsh for his contribution to learning through close looking techniques.

Acknowledgments

• Jessica expresses gratitude to both in-person and online attendees.

• She thanks John Walsh for his dedication to close looking techniques and nurturing aspiring scholars.

• The audience is encouraged to join in welcoming John as he begins his lecture.

Mondrian's Beginnings in Holland

In this section, John Walsh reflects on Mondrian's early career as a landscape painter in Holland, his academic training, and conservative artistic choices that catered to the 19th-century art market.

Early Career in Holland

• Mondrian received solid academic training as a landscape painter in Holland.

• He played it safe by creating artworks that appealed to the conservative 19th-century art market in Amsterdam.

• His subjects primarily consisted of local scenes, but he also had to take on lesser jobs like portraits and still lifes for financial stability.

Experimentation with Composition

In this section, John Walsh discusses Mondrian's experimentation with composition, influenced by theosophy and his desire to represent the elemental aspects of nature.

Experimentation with Composition

• Mondrian's oil sketches of landscapes showcased brushy, fresh, and confident techniques.

• Influenced by theosophy, he aimed to create art that represented the elemental in nature rather than mere appearances.

• He began exploring radically simple compositions, emphasizing color contrasts and using loose brushwork.

Influence of Paris and Cubism

In this section, John Walsh highlights Mondrian's visit to Paris and its influence on his artistic style. He also mentions Mondrian's response to Cubism and experiments with black and gray tones.

Influence of Paris and Cubism

• Mondrian spent two and a half years in Paris among the avant-garde artists.

• His style evolved towards his own kind of cubism based on tree forms and building facades.

• He excluded curved lines from his paintings, focusing solely on vertical and horizontal lines that formed crosses.

• Exhibitions showcasing Cubism in Amsterdam prompted Mondrian to experiment with black and gray tones, reducing any illusion of space.

Return to Holland during World War I

In this section, John Walsh explains how Mondrian got stuck in Holland due to World War I after visiting his family. He was unable to return to Paris for more than five years.

Return to Holland during World War I

• After spending formative years in Paris until 1914, Mondrian returned to Holland briefly.

• However, when World War I broke out, he became stranded there for over five years before being able to return to Paris in 1919.

Laren: A Civilized Exurb

This section introduces Laren as a civilized exurb.

Laren's Characteristics

• Laren is described as a civilized exurb.

The Principles of De Stijl

This section discusses the principles of De Stijl.

Elements Considered in De Stijl

• The absence of curves and diagonals in De Stijl artworks is questioned.

• The use of colors in De Stijl is explored, including whether only the three primary colors are used or if mixed colors are allowed, and whether the colors are saturated or muted.

"De Stijl" Publication

• An agreement was made to publish the ideas of De Stijl. A multilingual monthly publication called "De Stijl" was established in 1917 during World War I.

• Like many art movements at that time, De Stijl published a manifesto aimed at rousing artists to join the struggle against selfishness and despotism.

Key Points from the Manifesto

• Six key points were extracted from the manifesto:

• There is an old and new consciousness of time, with the struggle between individual and universal revealing itself in both World War I and contemporary art.

• The war is destroying the old world with its individual domination, while new art represents a balance between universal and individual elements.

• The new consciousness aims to realize both internal and external life, opposing traditions, dogmas, and individual domination.

• Artists worldwide sympathize with those working towards international unity in life and culture.

• The manifesto allows for different beliefs to coexist in the realm of art.

The Launch and Following of De Stijl

This section discusses the launch and following of the De Stijl movement.

Manifesto's Combative Tone

• The combative tone of the manifesto, with words like abolition and annihilation, may seem comical coming from pacifist painters in neutral Netherlands, but it was typical rhetoric for manifestos at that time.

Development and Theory

• The De Stijl movement gained a following in the 1920s and provided theoretical support for abstract art and architecture.

Mondrian's Struggles with Artistic Expression

This section focuses on Mondrian's struggles with painting and expressing his thoughts about art.

Writing for Publication

• Mondrian found it challenging to write about the future of art in society for publication. His first essay, "Neo-plasticism in Painting," was published in installments in "De Stijl" between 1917 and 1918.

• Despite some vagueness or crypticness, Mondrian's writings sharpened his mind and kept it flexible.

"Neo-Plasticism"

• Mondrian's essay promotes painting as a new, purer form of art that surpasses other visual arts and serves as a model for them.

Mondrian's Exploration of Music

This section explores Mondrian's interest in music.

Music and Dance Connection

• Music and dance were inseparable for Mondrian throughout the 1920s.

Influence of Luigi Russolo

• Mondrian followed developments in contemporary music and was influenced by Luigi Russolo, an Italian futurist painter who invented noise-generating instruments called Intonarumori.

Examples of Style

This section presents examples of style in music.

Nelly van Doesburg's Performance

• Nelly van Doesburg, a Dada poet and pianist, performs a suite of short pieces called "Examples of Style."

Mondrian's Return to Paris and Innovations

This section discusses Mondrian's return to Paris and his exploration of innovations.

Contemporary Music and Dance

• After returning to Paris in 1919, Mondrian continued to follow developments in contemporary music and dance.

Influence of Luigi Russolo Continued

• Mondrian explored strange innovations inspired by Luigi Russolo's ideas on noise-generating instruments.

Titles for Individual Short Pieces

This section discusses the titles of the individual short pieces.

Titles for Individual Short Pieces

• The speaker mentions that there were titles for the individual short pieces.

Starting a Thing Entirely in Diamonds

The speaker talks about starting a project entirely in diamonds and shares a sketch.

Starting a Thing Entirely in Diamonds

• The speaker mentions starting a project entirely in diamonds.

• A sketch is shown to illustrate the idea.

Diagonal Lines and Canceling Out Perpendicular and Flat Lines

The speaker discusses the possibility of using diagonal lines and their relationship with perpendicular and flat lines.

Diagonal Lines and Canceling Out Perpendicular and Flat Lines

• The speaker expresses intellectual inclination towards the possibility of using diagonal lines, but also acknowledges that it may cancel out perpendicular and flat lines found in nature.

Illustration of Argument with Rotated Letter

The speaker describes an argument illustrated by rotating a letter to a 45-degree tilt.

Illustration of Argument with Rotated Letter

• An argument is depicted through the rotation of a letter to a 45-degree tilt.

Four Paintings with Diagonal Lines Hanging One Corner Down

The speaker mentions four paintings with diagonal lines hanging one corner down.

Four Paintings with Diagonal Lines Hanging One Corner Down

• Four paintings are created with diagonal lines, designed to hang with one corner down.

Novel Combination of Challenges to Traditional Ideas of Balance

The speaker discusses the novelty of combining challenges to traditional ideas of balance in Mondrian's work.

Novel Combination of Challenges to Traditional Ideas of Balance

• Hanging paintings with diagonal lines was a novel combination that challenged traditional ideas of balance.

Disagreement over Diagonals and Break in Friendship

The speaker talks about a disagreement over diagonals that led to a break in Mondrian's friendship with Doesburg.

Disagreement over Diagonals and Break in Friendship

• The disagreement over diagonals became an issue of dogma for Mondrian, leading to a break in his close friendship with Doesburg.

Detour from the Main Direction: Diamond Paintings

The speaker mentions that the diamond paintings were a detour from the main direction of Mondrian's development.

Detour from the Main Direction: Diamond Paintings

• The diamond paintings were considered a detour from the main direction of Mondrian's artistic development.

Grid of Rectangles: Grid Structure and Careful Painting

The speaker describes a grid structure made up of rectangles and emphasizes the careful painting involved.

Grid of Rectangles: Grid Structure and Careful Painting

• A grid structure consisting of rectangles is created, with careful attention given to painting each element.

Designing Color Groups within the Grid

The speaker explains how Mondrian designs color groups within the grid.

Designing Color Groups within the Grid

• Mondrian clusters blocks of the same colors into groups of two, three, and four within the grid.

Dark and Glossy Companion Piece Reflecting Points of Light

The speaker describes a dark and glossy companion piece that reflects points of light.

Dark and Glossy Companion Piece Reflecting Points of Light

• A companion piece with a dark and glossy surface is created, reflecting points of light.

Allusion to Nature in Contradiction to Renouncing Representation

The speaker mentions an allusion to nature in Mondrian's work, despite his renouncement of representation.

Allusion to Nature in Contradiction to Renouncing Representation

• Mondrian includes an allusion to something he had seen in nature, contradicting his renouncement of representation.

Reconstruction of a Starry Sky from Nature

The speaker discusses Mondrian's reconstruction of a starry sky from nature.

Reconstruction of a Starry Sky from Nature

• Mondrian mentions working on a reconstruction of a starry sky inspired by nature.

Return to Paris: Different Approach in Montparnasse Studio

The speaker talks about Mondrian's return to Paris and his different approach in his Montparnasse studio.

Return to Paris: Different Approach in Montparnasse Studio

• After returning to Paris, Mondrian adopts a different approach in his Montparnasse studio.

Picture with Large Forms and Varying Structure

The speaker describes a picture with large forms and varying structure.

Picture with Large Forms and Varying Structure

• Mondrian creates a picture with large forms separated by thicker lines, resulting in a varying structure from one painting to the next.

Playful Board Game-Like Composition without Obvious System

The speaker mentions a playful board game-like composition without an obvious system.

Playful Board Game-Like Composition without Obvious System

• Mondrian creates a composition resembling a playful board game, lacking an obvious system or grid of equal intervals.

Virtual Support and Weight in Equilibrium

The speaker discusses the concept of virtual support and weight in achieving equilibrium in Mondrian's work.

Virtual Support and Weight in Equilibrium

• Mondrian emphasizes the sensation of weight as a key element in achieving balance and equilibrium in his paintings.

Horizontal Bar Stopping Short of Edges: Dynamic Equilibrium

The speaker explains how Mondrian achieves dynamic equilibrium through the use of a horizontal bar that stops short of the edges.

Horizontal Bar Stopping Short of Edges: Dynamic Equilibrium

• A painting featuring a horizontal bar running almost all the way across but stopping short of the edges exemplifies dynamic equilibrium according to Mondrian's prescription.

New Section

This section discusses the audience's preference between two paintings and their speculation on the artist who painted them.

Audience Preference and Speculation

• The audience is asked to vote for their preferred painting, A or B.

• The majority of the audience prefers painting B.

• There is a tinge of doubt about the authenticity of both paintings.

• It is revealed that Mondrian actually painted both paintings, but turned one upside down and removed the monogram to create a different composition.

New Section

This section explores Mondrian's experimentation with composition and his use of the diamond format.

Mondrian's Experimentation with Composition

• Mondrian would try out compositions by turning them in different directions on an easel.

• He used the diamond format to challenge himself in creating balanced compositions.

• In later works, he abandoned the grid and used primary colors with black bars placed intuitively.

Diagonal Edges and Odd Polygons

• The four edges of Mondrian's compositions cut diagonally into the artwork, creating odd polygons.

• The blue piece on the right and white areas around the periphery contribute to this effect.

Achieving Balance

• Mondrian achieves balance by placing a long horizontal bar above the center intuitively.

• All bars reach the edge of the canvas but are squared off, suggesting they do not continue beyond it.

• An exception is made for a blue shape at the far right to avoid leaving a conspicuous patch of white.

New Section

This section highlights the presence of a red triangle in Mondrian's compositions.

The Red Triangle

• The little red triangle at the lower left becomes a familiar element in Mondrian's repertoire of forms.

New Section

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