Always Learning

To understand art, paintings and particularly abstracts I tried to study one artist at the time in my limited way of self teaching but books and videos are a great source for that. I was fortunate enough to visit many galleries in Europe and the Americas  and have seen  original paintings from many amazing artists.

So today I try to talk about Piet Mondrian – fascinating – many books are written about his art and many different interpretations and opinions – his art went mainstream for a while there, when the fashion industry copied his work.


Pier and ocean, Plus and Minus

Image result for piet mondrian pier and ocean

So now –  if you see it the first time – all sticks and lines  – why did he name it “Pier and ocean, Plus and Minus” 1915 ( just think about it)

Here is what I figured out after reading what his intention was with many of his color square paintings:

“Subjectivities ausschalten”  Kill the subjective totally –  just use sticks and lines

Top: narrow and small, middle close together, bottom larger and loose, I feel my eyes go into the middle, so what is happening in the middle?

Mondrian likes water, sky –stars? All in an order as in plus and minus? The rhythm of the sea or of life? A pier by the ocean? Houses close together, like taverns in the harbour all in orderly rows?

Look up to the top – I see the order of the stars and one side of the painting is the beginning and the other side is the question when it will end.

Phuhh,  this is not my strong side – but I just had to do it ( To convince myself that I (kind of) understand the painting.)

Any comments? did I go all wrong?????

Trees by Mondrianmondrian29


abstract by Ursula E. Rettich

Tablecloth, gesso, oil,woodblock, hollow branch, decoupage, paper tube, gold string and glitter

One Reply to “Always Learning”

  1. If the intent was truly to ‘kill the subjective’, it’s curious Mondrian would name each piece. The shapes are shapes. Giving them a name (pier and ocean plus and minus) confuses the subjectivity/non-subjectivity of the work by leading us to wonder “Where is the ocean? Where is the pier? Why are there pluses and minuses in the ocean and by the pier?” (The shapes have ceased being merely objects and are now fodder for subjective consideration). I think the fact we are discussing this indicates the work is completely and entirely subjective.

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