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Gray Tree - Piet Mondrian
Gray Tree - Piet Mondrian
Gray Tree - Piet Mondrian
Gray Tree - Piet Mondrian
Gray Tree - Piet Mondrian
Gray Tree - Piet Mondrian
Gray Tree - Piet Mondrian
Gray Tree - Piet Mondrian
Gray Tree - Piet Mondrian
Gray Tree - Piet Mondrian
Gray Tree - Piet Mondrian
Gray Tree - Piet Mondrian
Gray Tree - Piet Mondrian
Gray Tree - Piet Mondrian
Gray Tree - Piet Mondrian
Gray Tree - Piet Mondrian
Gray Tree - Piet Mondrian
Gray Tree - Piet Mondrian
Gray Tree - Piet Mondrian
Gray Tree - Piet Mondrian
Gray Tree - Piet Mondrian

Gray Tree - Piet Mondrian

In this square-format work, Piet Mondrian thwarted the pre-eminence of the center by drowning it in the color red, when a right angle, the point of fixation of the gaze, was shifted to the bottom right. The lines delimit the planes of color and only reach the edges once, leaving the colors (red, yellow and gray) to anchor the composition in the plane.

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L'œuvre en bref

In this square-format work, Piet Mondrian thwarted the pre-eminence of the center by drowning it in the color red, when a right angle, the point of fixation of the gaze, was shifted to the bottom right. The lines delimit the planes of color and only reach the edges once, leaving the colors (red, yellow and gray) to anchor the composition in the plane.

The artist

Born in Amersfoort in the Netherlands, Piet Mondrian (1872 - 1944) was first encouraged by his uncle to paint classical landscapes. He enrolled at the Royal Academy of Fine Arts in Amsterdam in 1892 and it was in the early 1900s that he discovered symbolism. His landscapes then took on a less traditional and more intellectual, even moral aspect. Influenced by the work of Van Gogh, his palette evolved towards more vibrant colors. In 1913, he briefly tried his hand at cubism, but found his true pictorial language, neo-plasticism, in 1914. In 1917, Mondrian joined the movement founded by Theo Van Doesburg: "De Stijl" ("The Style"), which he left following a dispute in 1924. Four years before his death, he moved to New York, inspired by skyscrapers and street grids, which are in perfect harmony with his vision of painting.
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