Virginia Pitts Rembert



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As Mondrian worked to suppress the solids and voids of natural subjects in favour of their flat, geometric equivalents, he began to resolve the inconsistencies of three-dimensional natural space and two-dimensional artistic space. At first, he flattened objects, figures, trees, and facades into webs of contours, as in the paintings of 1911-1914. Then he treated the webs and later the crossings of their verticals and horizontals as independent members, unattached to the interstitial areas, as in the “Oceans” and
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is original impetus for adapting abstractionism was motivated by spiritualism, but it was also motivated by logic
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ese works, he created the paradigm for extending the rules of art when they can no longer carry the artist’s message. Every generation needs its examples of intellectual and creative courage. I believe that Piet Mondrian is such a model for artists of his adopted country


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