Neoplasticism

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For the art movement that birthed this school of theory, itself sometimes called "Neoplasticism", see De Stijl.
Theo van Doesburg Composition VII (the three graces), 1917

Neoplasticism, known in Dutch as Nieuwe Beelding (New Visualization), is an avant-garde art theory that arose in 1917 and was employed mainly by Dutch De Stijl artists. The most notable advocates of the theory were the painters Theo van Doesburg and Piet Mondriaan.[1] Neoplasticism advocated for an abstract art that had been purified by applying the most elementary principles through plainly rational means. Thus, a painting that adhered to neoplastic theory would typically consist of only simple shapes and primary colors.[2]

(Historically, the term "plastic arts" pre-dates Neoplasticism and denotes visual art forms (painting, sculpture, and ceramics) as opposed to literature or music. The terms plasticity and plasticism became more widely used in the early 20th century by critics discussing modern painting, particularly the works of Paul Cézanne.[3])

Origin[edit]

Mondrian, known for his distinctive geometric compositions using primary colors and straight lines, referred to "pure plastic art" [4] as a term to describe his style of abstract painting. He was probably influenced, at least initially, by Het Nieuwe Wereldbeeld [The New Image of the World], published by Mathieu Schoenmaekers in 1915, who "wrote of the pre-eminence of verticals and horizontals ... and the importance of the primary colours".[5] Mondrian used the term "nieuwe beelding" in his 1917 Dutch essay, De Nieuwe Beelding in de schilderkunst ['Neo-plasticism in Pictorial Art'].[5] (In Dutch, the word beeldend may be translated as visual, plastic or picturesque,[6] but Chilvers says that, in this context, image forming or image creating is more appropriate and thence that nieuwe beelding can be rendered as new image creation: Chilvers remarks that the translation into German, neue Gestaltung "is closer to the complexity of its meaning in Dutch".[5])

The terms beeldend and nieuwe beelding have caused more problems of interpretation than any others in the writing of Mondrian and other De Stijl contributors who adopted them.

— Paul Overy, De Stijl.[7]

In 1920, Mondrian published his essay in French, "Le Néo-Plasticisme: Principe général de l'équivalence plastique" ['Neo-Plasticism: The general principle of plastic equivalence']. [8] The French term néo-plasticisme was translated into English as neo-plasticism.[7][5] In 1937, Mondrian published an essay in English, entitled "Plastic Art and Pure Plastic Art (Figurative Art and Non-Figurative Art) ",[4] which describes "plastic art" as "individual", "objective" and "figurative", whereas "pure plastic art" is "universal, "subjective" and "non-figurative". Mondrian writes: "In pure plastic art the significance of different forms and lines is very important; it is precisely this fact which makes it pure." [4]

For Mondrian, "pure plastic art" encompassed the idea of creating universal (as opposed to individual) art that was focused on the fundamental elements of form, color, line, and space. He aimed to express universal truths and principles through the arrangement of these elements within the confines of the canvas. Mondrian believed that by simplifying and reducing art to its most basic components, he could evoke a sense of harmony, balance, and order that resonated with a deeper spiritual reality. [5] In his pursuit of "pure plastic art", Mondrian developed his signature style known as "Neoplasticism", adopted by the De Stijl group and characterized by grids of black lines intersecting with planes of primary colors (red, blue, yellow) and non-colors (white, black, and gray). Through this style, Mondrian sought to transcend the material world and connect with a higher, spiritual realm through pure abstraction and geometric harmony.[9]

Mondrian's views on neo-plasticism[edit]

Although art is the plastic expression of our aesthetic emotion, we cannot therefore conclude that art is only 'the aesthetic expresson of our subjective sensations'. Logic demands that art be the plastic expression of our whole being: therefore it must be equally the plastic appearance of the non-individual, the absolute and annihilating opposition of subjective sensations. That is, it must also be the direct expresson of the universal in us - which is the exact appearance of the universal outside us.

— Piet Mondrian, Neo-Plasticism: The General Principle of Plastic Equivalence [10]

References[edit]

  1. ^ Starasta, Leslie (July 2004). "The New Dictionary of Cultural Literacy (3rd edition)". Reference Reviews. 18 (5): 16–17. doi:10.1108/09504120410542931. ISSN 0950-4125. (book review)
  2. ^ "Neo-plasticism". Tate. Retrieved 13 April 2024.
  3. ^ Kyle, Jill Anderson (2009). Staviydky; Rothkoff (eds.). Cezanne and American Modernism (First ed.). Yale University Press. pp. 67, 68. ISBN 9780300147155.
  4. ^ a b c Mondrian, Piet (1937). "Plastic Art and Pure Plastic Art (Figurative Art and Non-Figurative Art)". In Martin, Leslie; Nicholson, Ben; Gabo, Naum (eds.). CIRCLE. Faber and Faber Ltd. pp. 41–56, 49. ISBN 0-571-09552-6.
  5. ^ a b c d e Chilvers, Ian (2009). A Dictonary of Modern and Contemporary Art. Oxford University Press. p. 504. ISBN 978-0-19-923965-8.
  6. ^ "beeldend". Google Translate. Retrieved 15 April 2024.
  7. ^ a b Overy, Paul (1991) [1969]. De Stijl. Thames and Hudson. pp. 41–42. ISBN 9780500202401. OCLC 781581210.
  8. ^ Mondrian, P. (1920). Le Néo-plasticisme. Editions de l'Effort Modern, Léonce Rosenberg, Paris.
  9. ^ Holtzman, Harry; James, Martin, eds. (1987). "Introduction". The new art – the new life : the collected writings of Piet Mondrian. Thames and Hudson. pp. 30–31. ISBN 9780500600115.
  10. ^ Mondrian, Piet (1920). "Neo-Plasticism: The General Principle of Plastic Equivalence". In Holtzman, Harry; James, Martin (eds.). The new art – the new life: the collected writings of Piet Mondrian. Thames and Hudson. pp. 134. ISBN 9780500600115.

Further reading[edit]

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