Piet Mondrian - Composition with double line (1934)

Piet Mondrian – Composition with double line (1934) – oil and charcoal on canvas – 57x55cm

It is great to see a work like this that shows the artist in the aesthetic process, and in Mondrian’s case, producing a work whose subject actually is a concentrated reduction to aesthetics only. The work is labelled  “unfinished”, not because the artist suddenly died or was  separated from the work. Mondrian had time to do more work on the painting (or is it a drawing?), but perhaps he never felt he had to take the painting to his usual finished look to change his liking for the work.

Mondrian probably takes art as far from representation as is possible to go. To take it any further would require taking all illusion and allusion from the work, and is it possible to do that? Even when artists create monochrome paintings or use simple geometric shapes, attempting to make the art work the object with no attaching references, some illusion and allusion always seems to creep in.

Whatever words and reasoning the artist might use to justify the work, to explain the intention, I really don’t need to know and understand, and in my case, want to know, as long as it leads the artist to create something with its own individuality and vitality that one can fall in love with.

 

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