De StijlDe Stijl
•This movement was named after a Dutch magazine ‘The Style’. /
Hierdie beweging is vernoem na die Nederlandse tydskrif ‘Die
Styl’.
• It was a collaboration of artists who aimed at clarity, certainty
and order through simplification / Dit was die samewerking van
kunstenaars wat gestreef het vir sekerheid, orde, duidelikheid
deur middel van vereenvoudiging.
•They used primary colours and black and white and grey / Hulle
gebruik primêre kleure asook wit en swart en grys.
•Straight lines, rectangles and cubes / Reguit lyne, reghoeke en
vierkante
•Abstraction and simplification / Abstraksie en vereenvoudiging
•Painting, sculpture, architecture, graphic design, industrial design
/ Skilder, beeldhou, argitektuur, grafiese ontwerp, industriele
ontwerp
•Devaluation of traditional art / Devaluasie van tradisionele kuns
•Van Doesberg en Mondrian
Piet MondrianBACKGROUND DETAILS / AGTERGROND
•He was the most radical abstractionist of his time / Hy was die
mees radikaalste abstrakte kunstenaar van sy tyd
•Mondrian started with the same square and rectangular
composition as traditional Dutch artists, but he simplified the it and
abstracted it to its purest form / Mondrian het begin met dieselfde
vierkantige en reghoekige komposisies as tradisionele
Nederlandse kunstenaars maar, het dit vereenvoudig to op die
abstrakte en suiwerste vorm.
ONDERWERP / SUBJECT MATTER
•Traditional Dutch subject / Tradisionele Nederlandse onderwerpe
•The city / Die stad
WERKE / WORKS
•‘The Red Tree’
•‘Broadway Boogie Woogie’
•‘Composition in Colour A’
TEGNIEK EN MEDIUM / TECHNIQUE AND MEDIUM
•The thick black lines are hand painted / Die dik swart lyne is met
die hand geverf
•There is short, harsh, disciplined brushstrokes in his earlier work /
Die kwashale in sy vroee werk is kort en gedissiplineerd
•He leaves areas near the edges open / Hy los areas naby die
kante oop
•He would sometimes use the canvas in a diamond shape / Soms
gebruik hy sy doek in diamante vorm
STYL / STYLE
•Plasticism: Mondrian felt that the abstraction of Cubists was not leading to pure
reality / Mondrian voel dat die abstraksie van die Kubiste nie na suiwer realiteit
lei nie.
•Plasticism meant that abstraction should be used in a way so as to clarify
reality, not cloud it. / Plastisisme beteken dat abstraksie op so ‘n manier gebruik
word om duidelikheid te verkry en nie dit te verbloem nie.
•He sought a balance of colour and form / Hy soek ‘n balans tussen kleur en
vorm
•Composition is dominated by thick black vertical and horizontal lines / Die
komposisie word gedomineer deur dik horisontale en vertikale lyne
•Mondrian’s goal was pure reality and equilibrium / Mondrian se doel was pure
realiteit
•Abstractions were geometric and had a non-symetrical balance / Abstraksie
was geometries en het ‘n nie-simmetriese balans gehandhaaf
Title/ Titel: Tableau II
Artist / Kunstenaar: Mondrian
Medium: Oil on canvas
Format/ Formaat: 29 ½ X 25 ½
Location/ Lokaliteit: Zurich
SUBJECT / ONDERWERP
•Rectangular picture filled with linear structures of black horizontal
and vertical lines.
•Reghoekige prentvlak gevul met ‘n liniere struktuur van
horisontale en vertikale lyne.
•The black structure does not only surround the colour areas but
both are equally important.
•Die swart omsluit nie net die kleurareas nie, maar beide is ewe
belanrik.
•Certain blocks are filled with red, blue, yellow, black and two
shades of grey.
•Sommige bloke is gevul met rooi, geel, blou, swart, asook twee
skakerings van grys.
•Both the red and grey areas are divided into blocks of various sizes.
•Beide die rooi en grys areas is verdeel in blokke van verskillende groottes
•The black rectangles which changed from lines into a solid black planes,
brings unity between line and colour.
•Die swart reghoeke wat verander van lyne na swart kleur panele, bring
eenheid tussen lyn en kleur.
•The sides of the painting are left open at the top and bottom left corner. This
causes the grey areas to move around the lines at the outside.
•Die kante van die skildery is oop gelos aan die bo kant en onder linkerkantste
hoek, dus beweeg die grys areas om die lyne aan die buitekant.
•At the bottom right corner, the black was taken to the edge where it ends in a
black area.
•Op die onderste regterkantse hoek is tot op die kant gevat waar dit eindig in ‘n
soliede swart area.
•Rest of painting red, yellow and grey forms the outer edge.
•Op die res van die skildery vorm rooi, geel en grys die buitenst rande.
COMPOSITION / KOPOSISSIE
•The parts form a perfect visual balance, but are under
tremendous tension.
•Die dele vorm ‘n perfekte visuele balans, maar is onder
geweldige spanning
• The black lines which binds every thing together forms a unit
•Die swart lyne bind alles saam as ‘n eenheid
SPACE/ SPASIE
•Although the colours were applied flat, certain colours come to
the front and others fall back into the background.
•Alhoewel die kleure plat aangewend word, lyk dit asof sekere
kleure na vore kom en ander terug sak in die agtergrond in.
•Because of the structure of the painting and the subtle placing of
the colour areas, even the grey areas seem to be at different
depths.
•As gevolg van die struktuur van die skildery en die subtiele
plasing van die kleur areas lyk dit selfs asof die grys areas op
verskillende vlakke voorkom
TECHNIQUE / TEGNIEK
•Flat, opaque colour surfaces, no visible brushstrokes.
•Plat, ondeurskynende oppervlaktes, geen sigbare kwashale
CONTENT / INHOUD
•Mondrian strove for a dynamically balanced vertical and
horizontal structure which consist of the primary colours as well
as black and white.
•Mondrian streef na ‘n dinamiese gebalanseerde vertikale en
horisontale struktuur wat bestaan uit die primere kleure sowel as
wit en swart
Titel / Titel: Broadway Boogie-Woogie
Artist / Kunstenaar: Mondrian
Medium: Oil on canvas
Format / Formaat: 50 x 50
Time / Tyd: 1942-43
Location / Lokaliteit: Museum of Modern Art, New York
INFLUENCE / INVLOED
•impact of the city on Mondrian is very noticeable
•Impak van die stad op Mondrian is duidelik sigbaar in hierdie werk
FORMAT / FORMAAT
•square canvas
•vierkantige doek
SUBJECT / ONDERWERP
•Broke away completely from earlier formula
•Breek weg van sy vorige formules
•It still had a frame work like his other work, but this frame consisted of colour
•Dit het steeds ‘n raamwerk soos in sy ander werke maar, die raam bestaan
uit gekleurde blokkies.
•The lines consist of small squares and rectangles in red, yellow and blue.
•Die lyne bestaan uit klein vierkante en reghoeke in rooi, geel en blou
•Only here and there between the lines did Mondrian use colour. (red, yellow
and blue)
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