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The Place of "Composition 12 with Small
Blue Square" in the Art of Piet Mondrian
by Robert Welsh
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Similarly, with intense and prolonged viewing, effects of glowing
irradiation (for example, an exaggerated tonal contrast in the purity
of the white and black, where line edges and ground meet) and distortion
of size (the seeming slight expansion and contraction of particular areas
of line, colour and background) gradually become visible in Composition 12, as indeed they do in paintings having a less
rhythmically syncopated linear structure. One may deduce from an
ultra-violet photograph of Composition 12 (fig. 14) that the final overpainting
of the white surface area in New York involved renewed emphasis upon a
visibly striated brush technique during this final period of activity. In
consequence, the muted sensation of overall surface glow, or vibration,
which is hereby produced, must be considered a consciously sought
expressive effect.
Regarding these observable kinetic effects, the painter was doubtless
aware of at least most of them. However, given his overriding concern
for an essentially balanced mode of composition, it seems probable that
he considered them no more than secondary expressive phenomena, of merit
only insofar as they add an additional minor element of dynamic movement
or rhythm to his paintings. Instructively, the climactic stylistic development
from the New York City I of 1941-1942 to the Victory Boogie-Woogie,
which he still was revising at time of death in 1944, displays a progressive
integration of the popping phenomenon, found at the line-crossings of the
former painting, into the actual structural fabric of the even more rhythmically
complex, latter example. If by no means as kinetically and expressively
variegated an exercise in visual dynamics as these major canvases of the
New York period, Composition 12 does, nevertheless, number
among the most rhythmically, which is to say optically, active creations
of his total career. As such, it lends support to the possibility that
Paris, rather than New York City, initially bore witness to the
jazz-like syncopations of his ultimate stylistic phase.
This possibility is further strengthened through a
precise knowledge of the date at which Composition 12
was initially conceived. This question involves its classification as one
of the so-called "double-line" paintings of the 1930s, a term the meaning
of which never has been fully explained. Although not mentioned
as having constituted a fundamental change or breakthrough in his own published
writings, a number of close artistic friends seem to have considered
it just this, and the usage certainly entered his oeuvre, approximately
1932, rather abruptly, and as a pervasive habit of style. Possibly Mondrian
was in part inspired by the example of the female painter, Marlow Moss,
whose Composition in White, Black, Red and Gray (fig. 15) of 1932
is bisected horizontally by a closely-spaced pair of lines. Admittedly, this
practice by Moss was by no means followed exactly by Mondrian, whose own
pairs of lines almost invariably bisected by lines in an opposing direction.
(31)
In Composition in Gray and Red (fig. 16) of 1935, for example,
the picture plane is traversed vertically and horizontally by
sets of double lines, which, incidentally, preserve the Greek cross image
internal line structure of Composition 12 may still be thought a direct,
if diversely expanded, descendant. (32) It is generally believed that Mondrian
those closely-spaced, thin-line pairs, in the belief that by replacing one or
more of the wider which typically characterizes
works of circa (1930-1931, he was divesting his paintings of what he
had come to consider a "tragic" dominance of one direction over the other. (33)
Moreover, the double-line paintings in general allow for a greater sense of
movement and intricacy of design than the immediately wide-line paintings.
This must have been part of the artist's intention in contrasting the
Composition with YeIlow Lines with a now lost, double-line painting,
when he placed one above the other for a photograph taken in his studio,
circa 1933 (that is, fig. 17). (34)
However attractive a device the use of quite closely spaced and
compositionally isolated pairs of thin bisecting lines proved to be in
the early 1930s, by circa 1936, when Composition 12 was begun,
a development was in motion towards even more complex compositions, containing
greater numbers of lines than had characterized his paintings since the
beginning of the 1920s. In particular, it is no longer possible to interpret
whatever double lines do occur as simply a single, broad line, split up
the middle, like railway tracks. Virtually all lines, whether or not part
of a pair, now must be read as functioning simultaneously as space dividers,
and as boundary edges of various rectangular planar units, both white and
coloured. This multiplicity of linear configurations, of course, anticipates
the systematic breakdown in the separate identities of the elements - line,
plane and colour - which characterize the major paintings of the New York
years. Since Composition 12 was finished in time for exhibition
in early 1942, it is of no little importance to know just which alterations
to its condition in Europe may be thought to have been made in New York.
Fortunately a photograph has recently come to light (see fig. 18), which
records the appearance of several paintings arranged along a
wall of Mondrian's second Paris studio in 1937, the year being as certainable
from the apparently just completed state of the easel-mounted Composition
with Small Blue Rectangle (S: cc 395, now in the Gemeentemuseum, The
Hague), which bears that date. More instructive still is the inclusion.
at the upper right of the photograph, of two paintings in unfinished state
which may be identified as Composition in Red, Yellow and Blue (fig 19)
of the Tate Gallery, London, and Composition 12. Apart from
indicating Mondrian's continuing habit (circa 1937) of mounting
his paintings upon a flat board, thereby inducing the effect of projecting
reliefs, this photograph allows for certain deductions about the kinds
of changes he made in New York to certain paintings begun in Europe. Most
significantly, the Tate and Ottawa paintings indicate the addition of respectively
only three and two additional vertical lines, all at the outer peripheries,
while no horizontal lines appear to have been added.
Thus, the working method was to expand the compositional nexus
outward, hereby further reducing the cruciform aspect derived from earlier
precedents, although this is still identifiable to a degree in Composition 12. Whereas the Tate painting also gained colour squares,
which were added to the single enclosed colour rectangle visible in the
1937 photograph, this does not hold true for Composition 12, supposing
that the single blue square was already present, but excluded from camera
view. Assuredly, the blue, unbounded bar of colour at lower left in the
Tate painting constitutes the most radical known species of New York addition, since
it intentionally fuses the elements of line, plane, and colour. By way of
contrast, the use of only one or two smallish colour planes consequently
may be thought more typical of at least one compositional type favoured
by Mondrian circa 1937. (35) Such a lean and stark application of colour
as we find in these examples, mayor may not have something to do with the
sobriety of Mondrian's own life, and the general political climate at the
time. However, it does offer a decided contrast with the more exuberant
and colourful art style, which, despite the continuing war, he evolved
while in New York. (36)
In total, we have seen how trenchantly the Canadian National
Gallery Composition 12 summarizes the many rich years of Mondrian's
European experience, while also forcefully anticipating the sense of dynamic,
rhythmic equilibrium which was the dominant feature of his New York period.
An essential dualism between kinetic factors, and their resolution into
an overall structural harmony, is the most striking quality of this rigidly
composed, yet radiantly luminous and structurally imposing painting. Somewhere
beneath its geometrically abstract surface doubtless survive those
involvements with the world of natural appearance, spiritualist meditations,
and artistic - scientific investigations with which he had been so strenuously
engaged during earlier phases of his career. It would be going too far
to suppose a conscious reference to either some natural subject-motif,
an occult emblem, or any mathematical-spatial formula, in this relatively
late painting. Yet there is adequate reason to believe that Mondrian's
contemporary concepts of dynamic equilibrium and pure abstraction in
art, were meant to subsume all three areas of experience in one fundamental
system of imagery. It was doubtless due to this same, all-embracing, universalist
philosophy that he was able to sustain, to the end, his belief in the unity
of art and life, and in the prospect of enhanced happiness for mankind,
despite the many adversities which surrounded him. Almost needless to say,
it also explains why, for him, no strict separation of conceptual and perceptual
modes of art was possible. A forceful interaction of the two is what
chiefly accounts for the sublime beauty embodied in Composition 12.
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