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New York City - Piet Mondrian
New York City - Piet Mondrian
New York City - Piet Mondrian
New York City - Piet Mondrian
New York City - Piet Mondrian
New York City - Piet Mondrian
New York City - Piet Mondrian
New York City - Piet Mondrian
New York City - Piet Mondrian
New York City - Piet Mondrian
New York City - Piet Mondrian
New York City - Piet Mondrian
New York City - Piet Mondrian
New York City - Piet Mondrian
New York City - Piet Mondrian
New York City - Piet Mondrian
New York City - Piet Mondrian
New York City - Piet Mondrian
New York City - Piet Mondrian
New York City - Piet Mondrian
New York City - Piet Mondrian

New York City - Piet Mondrian

The density of blue, yellow and red crisscrossing the entire surface magnifies the "new energy" of America. In this painting, Piet Mondrian translates the architectural gigantism, the orthogonal urbanism and the frantic traffic of the New York megalopolis. This city had a strong impact on the artist's career when he moved there in 1940.

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L'œuvre en bref

The density of blue, yellow and red crisscrossing the entire surface magnifies the "new energy" of America. In this painting, Piet Mondrian translates the architectural gigantism, the orthogonal urbanism and the frantic traffic of the New York megalopolis. This city had a strong impact on the artist's career when he moved there in 1940.

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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