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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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On a second level, that of the intended iconography, this painting
may be considered a quintessential expression of Theosophic doctrine,
in which primary geometric shapes embody allusions to fundamental spiritualist
ideas. Thus, the oval border of the interior composition implies the cosmic
egg born of the sea which Theosophy derived from Hindu tradition. (18) Similarly,
both the central cruciform image, formed by the major vertical and horizontal
axes, and the many smaller line-crossings, imply one or another of the
several cross-forms (for example, the Latin, Greek and Tau types), which
are cited in many basic Theosophic writings as signifying profound cosmological
truths. Like the simple opposition of vertical and horizontal elements,
the white-versus-black contrast had, for Mondrian, come to imply an ultimate
polarity, that common to most religious systems: namely light versus
darkness. Henceforth, both the basic black-and-white colouration, and the
"plus-and-minus" connotations of vertical and horizontal lines in grid
paintings by Mondrian, should be interpreted to involve a cosmic principle of
attraction of opposites, rather than simple arithmetic symbols for addition
and subtraction.
On a third level, however, we can view the "plus-and-minus" style
as evidencing the emergence in Mondrian's thinking of a less spiritualist
outlook than that resulting from contact with Theosophy. This would be
a basic concern with the dissolution of the distinction between form and
space as substantive absolutes, traditional to Western art. In reference
to his Dutch wartime experimentation, Mondrian thus later wrote:
At this point, I became conscious that reality is form and space.
Nature reveals forms in space. Actually all is space,
form as well as what we see as empty space. To create unity, art has to
follow not nature's aspect but what nature really is. Appearing
in oppositions, nature is unity; form is limited space concrete
only through its determination. Art has to determine space as well as
form and to create the equivalence of these two factors. (19)
On the one hand, the development of this theory should
not be thought to signify a precipitate termination of his Theosophic
involvement, since an interpretation of the Pier and Ocean, as representing
a species of universalized visionary landscape, is easily reconcilable
with, perhaps enhanced by, the innovative significance it had for Mondrian's
conceptual abandonment of the Renaissance form - space dichotomy. On the
other hand, as he gradually abandoned reliance upon the various expressive
and symbolic associations of specific subject motifs (including those predicated
by Theosophy), his style and content increasingly took on a more independent
and individual cast. To the extent that his conception of pictorial space
appears more and more analogous to the general anti-Newtonian bent of
twentieth-century astronomy and physics, there is, of course, a heightening
of the secular or scientific aspect of his art. Nonetheless, until
the end of his career, Mondrian's primary theoretical preoccupation
continued to be "liberation from oppression in art and life," as he entitled
one of his late essays. (20) In this search, both religion and science
were found necessary to his theory of art, chiefly insofar as they illuminated
or coincided with his primary pursuit of artistic goals.
The reader already may have noticed certain general structural
similarities between the Pier and Ocean, and the Composition 12.
There is no reason to think that Mondrian was consciously returning
to the earlier painting in determining the composition of the National
Gallery example. Yet the occurrence in both of a central cruciform image,
and a common reliance upon stark black-white and vertical-horizontal
contrasts, allows us to see the two works as generically related, in contrast,
for example, to the much greater number of mature period paintings, in
which asymmetrical design elements predominate. Most important
, the rhythmical dispersion of vertical and horizontal lines against a luminous
white ground provides the principal source of aesthetic interest in both paintings.
To this extent, since Composition 12 seemingly represents the only major
painting to have been begun in Europe and finished in New York while leaving intact
a dominant centralized cruciform image, it may be considered the final elaboration
of a theme in Mondrian's oeuvre of which the Pier and Ocean constituted
his most definitive statement during the immediate post-Cubist years.
Another major precedent was set for Composition 12 when Mondrian,
before returning from The Netherlands to France in 1919, which is to
say, during his early De Stijl period, adopted an exclusive reliance in
his art upon three basic plastic elements: namely, straight lines, rectangles
and primary colours (that is, variants of blue, red and yellow, employed
with the rectangles). Initially, this usage retained a form-space dualism,
as is embodied in Composition in Colour-A (fig. 8) finished in early
1917. Here, space is still represented by the white ground as in Pier
and Ocean, whereas the square or rectangular colour planes, and the
conceptualized black lines, are treated as particularized forms which
appear to overlap and to float against the lighter background. Just how
difficult it must have been for Mondrian to abandon this residual attachment
to observed subject matter is illustrated in another previously unpublished
drawing, which one can designate a Detail Study of the Domburg Church
Façade (fig. 9), from the remnants of Gothic window contours
which survive from earlier versions of the subject (for example, fig. 2
and S: cc 250, 252-257; see also photograph, fig. 3). However, as the only
known version to use a square, rather than vertical format, this modest
exercise in achieving a disequilibrated balance of lines and implied
planes must be considered a uniquely related preliminary study for Composition
in Colour-A, and the companion piece, Composition in Colour-B (S: cc 291),
both only slightly higher-than-wide canvases.
Moreover, in contrast to the few other known precedents, for example, Pier
and Ocean, the Detail Study more consistently employs a network of straight lines in order
to form a pseudo-grid composition, the individual linear components of which
ambiguously act both to divide and to enclose areas of white ground. In
this respect, the drawing functions as a link between the loose grid compositions
of the Paris Façades, and the regular mathematical grid works which
occurred exclusively during the years 1918-1919. In terms of the National
Gallery Composition 12, it serves as yet another reminder of the
variety and depth of experimentation that preceded the achievement of
the late classic phase which began in the early 1920s. Thus, Composition 12
employs a near-perfect square picture format, and a basically cruciform
interior composition, which, upon closer examination, cannot be viewed
as a homogeneously unified configuration of lines and planes. This complexity
of internal structure is due chiefly to an irregularity of internal intervals between the lines,
all of which, like those of the Detail Study, function as much to divide as to
contain the various white rectangles.
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