Word: mondrian
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...display in Pittsburgh will be remembered longer than, say, Gaston La Touche, a 1907 winner, or 1947's Zoltan Sepeshy. But it is disconcerting to recall that in its time the Carnegie managed to omit from its internationals work by Cézanne, Modigliani, Demuth, Gauguin, Henri Rousseau, Mondrian, Juan Gris and Toulouse-Lautrec...
...legitimate ancestry. Cezanne, Seurat and Monet seized upon newly proposed theories of optics when they painted. In this century, such constructivists as Mondrian and Malevich were the forebears of op art's dry, highly controlled use of color, which sometimes-as in the work of Britain's labyrinth-making Jeffrey Steele, 33 (above) -amounts to rejecting color. When they do use color, however, it is to stimulate the first sense directly rather than to enhance forms...
...Mondrian met Bart Van der Leek, whose work (see opposite page), though sometimes representational, dealt with pure colors in flat planes. They tried to remove the traditional moat between the picture and the viewer. Mondrian's late paintings can be seen as the visible imprint of an invisible pattern surrounding the viewer. Even the walls of his stark studio were hung with movable panels that he rearranged to suit his desire, in effect making the studio a spatial work of art. Van der Leek used white in his work not as background but as space that separated his flecks...
...Though Mondrian has been dead for two decades, the grip of de Stijl's geometry has never lessened, as is demonstrated in the 80-odd paintings on show at Manhattan's Marlborough-Gerson Gallery. Among the younger Dutch painters, Joost Baljeu, 39, makes mechanical totems of an order beyond emotion. U.S. Artist Charles Biederman, 58, saw that his mentor Mondrian had reached "the very limit permitted by the old hand medium of paint." He lays down the brush for what he calls "the new art tools of man"-machines -and makes his metal reliefs look un touched...
...haphazard crackling of aging oils is time's contemptuous comment on Mondrian's ice-pure ideals. He himself wrote in the mid-'20s that he preferred "a more or less mechanical execution" using "materials produced by industry," because de Stijl sought a rapport with the new technology that Van Gogh and other 19th century artists generally detested. In essence, the Stijlists felt that since the machine cannot make nature, it must if properly used make...