Neo-Plasticism

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Revision on Neo-Plasticist painting.

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Neo-Plasticism

  1. 1. NEO-PLASTICISM Revision
  2. 2. Beginnings <ul><li>This avant-garde movement founded by Theo van Doesburg in the Netherlands </li></ul><ul><li>It was essentially a painting and sculpture movement, even when it had some architectonical examples too. </li></ul><ul><li>The basic aim of the movement was to </li></ul><ul><li>try to produce pure form and colour, completely devoid of realism and the </li></ul><ul><li>artist’s emotion </li></ul>
  3. 3. Characteristics <ul><li>Neo-plastic style is characterized by a reversion </li></ul><ul><li>to the basic fundamentals of art: </li></ul><ul><ul><li>colour, </li></ul></ul><ul><ul><li>form, </li></ul></ul><ul><ul><li>level, </li></ul></ul><ul><ul><li>and line. </li></ul></ul><ul><li>Artists used mostly straight horizontal and </li></ul><ul><li>vertical lines and black, white, grey and primary </li></ul><ul><li>colours. </li></ul>
  4. 4. End <ul><li>The Neo-Plasticism ended in 1919 when </li></ul><ul><li>van Doesburg founded a new alliance </li></ul><ul><li>called `Abstraction-Creation´. </li></ul><ul><li>The Neo-Plasticism was very influential in </li></ul><ul><li>the development of the Bauhaus and the International Style. </li></ul><ul><li>The most famous artist of the movement </li></ul><ul><li>was Piet Mondrian. </li></ul>
  5. 5. Tenets <ul><li>The tenets of Neo-Plasticism are the following: · Coloration must be in the primary colours </li></ul><ul><li>of red, blue and yellow or the no colours of </li></ul><ul><li>black, grey and white. · Surfaces must rectangular planes or </li></ul><ul><li> prisms · Aesthetic balance must be achieved and this is </li></ul><ul><li>done through the use of opposition · Compositional elements must be straight line or rectangular areas · Symmetry is to be avoided </li></ul>
  6. 6. Tenets <ul><ul><li>· Balance and rhythm are enhanced by relationships of proportion and location. · Compositional elements must be straight </li></ul></ul><ul><ul><li>line or rectangular areas · Symmetry is to be avoided · Balance and rhythm are enhanced by relationships of proportion and location. </li></ul></ul>
  7. 7. Mondrian <ul><li>Mondrian began his career as a figurative pain- </li></ul><ul><li>ter but in 1911 he met the Cubists in Paris and changed his mind about the construction of the work of art. </li></ul><ul><li>After that he developed his poetry of the prima- </li></ul><ul><li>ry values or structural of the vision: line, plan, </li></ul><ul><li>colour. </li></ul><ul><li>He travelled to London and to New York where </li></ul><ul><li>his style was marked by the fraction and the </li></ul><ul><li>visual animation in the plan of his pictorial space. </li></ul>
  8. 8. Mondrian <ul><li>In Mondrian’s opinion Cubism is rational but not enough because it did not reach to the last consequences. </li></ul><ul><li>He thought that nothing can be known without feeling it but to know the real essence of things </li></ul><ul><li>it is needed to make a deep thinking in which </li></ul><ul><li>the mind works alone. </li></ul><ul><li>Given that the human mind is equal for every person, the mental process should begin in some common notions, this is, on the elements of the </li></ul><ul><li>line, the plane and the basic colours. </li></ul>
  9. 9. Mondrian <ul><li>All his paintings between 1920 and 1940 </li></ul><ul><li>are similar: </li></ul><ul><ul><li>a net of coordinates that forms squares of different dimension </li></ul></ul><ul><ul><li>and contains the basic colour with a </li></ul></ul><ul><ul><li>dominance of </li></ul></ul><ul><ul><ul><li>the white (light) and </li></ul></ul></ul><ul><ul><ul><li>the almost present black (lack of light). </li></ul></ul></ul>
  10. 10. Mondrian <ul><li>Each of them depends on a different perceptive sensation (and consequently sensitive and emotive). </li></ul><ul><li>Any experience of reality, does not matter how different it will be, must lead to reveal the constant structure of the consciousness. </li></ul>
  11. 11. Mondrian <ul><li>His painting can be included in a perfect urbanism: the city aims at having a living space for a society whose acts should be rational, ethical and aesthetic. </li></ul><ul><li>His work had a great influence on architecture, </li></ul><ul><li>not only in the architectonical shapes but in the value of vital functionality of the spaces, the plans and anything that defines and distributes it, and </li></ul><ul><li>the project in itself. </li></ul>
  12. 12. Mondrian <ul><li>Due to all these reasons his painting </li></ul><ul><li>may appear to be cold </li></ul><ul><li>Mondrian was, after Cezanne, the </li></ul><ul><li>highest, most conscious and most civic conscience of modern art. </li></ul>

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