| Papers [1-11] of 11 | Search results on "KAZIMIR MALEVICH PIET MONDRIAN": |
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Kazimir Malevich and Piet Mondrian, 2008.
An examination and comparison of the views of Kasimir Malevich and Piet Mondrian on the relationship between non-objective art and spirituality.
1,308 words (approx. 5.2 pages), 6 sources, MLA, AU$ 64.95
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Abstract
This paper explains non-objective art and then compares and contrasts how Kazimir Malevich and Piet Mondrian expressed their perceptions of the intimate connection between the spiritual and the non-objective through their writings and their paintings. The author concludes that Malevich tended to link non-objective artwork explicitly with western, organized religion; while Mondrian favored a more diffuse type of spiritualism reminiscent of eastern religions.
Outline
Introduction
Part I: Malevich's "take" on the Relationship between the Spiritual and the Non-Objective
Part II: Mondrian's "take" on the Relationship between the Spiritual and the Non-Objective
From the Paper
"Ultimately, what Malevich was really after - certainly in his "Suprematist" work - was to strive after something more ethereal and to leave the "earth" behind. Suffice it to say, this striving after the metaphysical, along with the perception that non-objective art could uncover a new kind of logic, hearkens back to spirituality in the sense that religion also demands that people disassociate themselves from the flesh, live for the world beyond this one, and put their trust not in humanism or in common logic but in a faith or "beyond reason-ness" that relies on intuition more so than anything else."
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Piet Mondrian, 2002.
A discussion of Piet Mondrian's artistic works, focusing in particular of his progression towards neo-plastic expression.
1,507 words (approx. 6.0 pages), 10 sources, MLA, AU$ 71.95
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Abstract
This paper considers the many influences on the career of Piet Mondrian, in particular theosophy, cubism, the Dutch tradition, Vincent van Gogh, neo-plasticism and his eventual move to New York.
From the Paper
"Founded on an unprecedented concern with structure, unity and subtle geometry, Piet Mondrian?s landscapes reveal the origins of what was to become the major preoccupation throughout his career ? universal beauty, and its abstract representation. It was a journey that would culminate in his remarkable last work Victory Boogie-Woogie, and a process which saw him grapple with Naturalistic Realism, Cubism, Symbolism (briefly) and finally Neo-Plasticism, also called the International Style, a movement he was to make his own. Mondrian?s art is fascinating for the very reason it is also so hard to understand ? it was a completely new way of perceiving the relationship between the external world, inner feeling and the surface of the canvas. His abstraction was not just a move away from figurative, representational art, but a step towards transcendental purity."
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Piet Mondrian, 2002.
Discusses the work, "Place de la Concorde" (Dallas Museum) by artist Piet Mondrian (In Dallas Museum)
900 words (approx. 3.6 pages), 1 source, AU$ 51.95
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Abstract
This paper will discuss the art of Mondrian. By examining his painting "Place de la Concorde", we can see how he approaches painting stylistically.
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"Compositie met Rood Geel en Blauw", (Composition with Red Yellow and Blue) - Piet Mondrian 1922, 2001.
An examination of Piet Mondrain's approach to the painting "Composition with Red Yellow and Blue by
1,830 words (approx. 7.3 pages), 3 sources, AU$ 84.95
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Abstract
In this paper the author looks at the painting, ?Composition with Red Yellow and Blue? c. 1922 by Piet Mondrian and attempts to bring a sense of purpose to the painting and instill the reader with a sense of appreciation for the message that Mondrian imparts through his art. He concludes by examining the September 11th attacks in relation to Mondrain?s art and contends that Mondrain would have regarded it as surreal.
From the paper:
?Mondrian believed that artistic expression should be found in the abstraction of form and color and that his use of vertical and horizontal lines would express the perfect harmony between these two extremes?.
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Mondrian and Abstract Art, 2008.
This paper discusses the life of Piet Mondrian and the development of abstract art.
884 words (approx. 3.5 pages), 1 source, MLA, AU$ 45.95
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Abstract
The paper describes the works and life of Piet Mondrian, the Dutch abstract painter. The paper traces the development of Mandarin's style from the beginning of the 20th century until the 1940s. The paper also shows how Mondrian was one of the pioneers of geometric abstract art.
From the Paper
"Abstract art can trace its origin to the later part of the 19th century when artists began to move away from simply imitating the physical world. Cubist and futurist paintings for example "represent highly abstracted interpretations of the material world" (Arnason, 217). The abstract painters began to use only color, shape and form to explore new artistic expressions. Hence modern abstract art can be called non-representational and non-objective. One of the most important movements in the development of modern abstract art was the De Stijl group in the Netherlands, which began in 1917. The group wanted to create "the art 'for clarity, for certainty, and for order" (Arnason, 231)."
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Malevich & Popova, 2002.
An analysis of the artistic works and influences on the art world of Kazimir Malevich and Liubov Popova.
1,660 words (approx. 6.6 pages), 4 sources, AU$ 77.95
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Abstract
This paper provides a discussion of the careers of Malevich and Popova. The development of Malevich's style, through abstract art and Suprematism, is outlined. Popova's artist development, during which she joined Malevich?s Suprematic movement, is reviewed. The Cubist influences on their work, their architectonic painting and figure sketches are examined.
From the Paper
"Until the start of the twentieth century, drawings, paintings, monuments and all other forms of artistic creations were based on the subjects and compositions of real world thoughts and dreams. This representation was always pictorial based reflecting clearly the real world ideas. However, with the emergence of science and technology and increasing use of machineries in the life of a common man, artists began to interpret the new emerging world in a different manner. The earlier decades of the twentieth century can be termed as an era of extraordinary development in the artistic world. Several movements lead the modern art to particular new directions. Movements like Fauvism, Cubism and Futurism guided the artists of twenty first century to explore new avenues and to reassess the role of art. Movements like Suprematism and Constructivism stemmed from the materialism of the machine age. Although, these movements were comparatively short lived, they had a deep impact on the development of art in the coming days."
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Piet Zwart and April Greiman, 1994.
An examination of the 20th century Dutch and American graphic designers' lives and careers, styles, philosophies and materials.
4,500 words (approx. 18.0 pages), 22 sources, AU$ 195.95
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From the Paper
"The purpose of this research is to examine the work of graphic designers Piet Zwart and April Greiman, the former a Dutch designer who died in 1977 and the latter an American who was born in 1948. The plan of the research will be to set forth each designer's background as well as an overview of the education, experience, and influences on each, and then to discuss the philosophy and style of design, and the use of type, photography, and color media, with a view toward showing the similarities and differences in the content and execution of their work.
It is possible to trace a direct line of generational influence from the European Zwart to his much younger American contemporary, Greiman, simply by looking at the work of each and pointing out similarities. However, that line would not be clear..."
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The Grid and the Line in Modern Art, 2002.
This paper discusses the role and meaning of the grid and the line in abstract paintings.
1,870 words (approx. 7.5 pages), 15 sources, MLA, AU$ 86.95
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Abstract
This paper explains that the innovation of the grid as an enduring motif in modern art and its offshoot, the straight-line, opened up a relatively unprecedented mode of expression for modern abstract artists. This paper explores the philosophy and work of Piet Mondrian and other artists of the Neo-Plasticism movement. The author points out that, for Mondrian, the grid was not simply a structural mechanism but an organic solution to the Modernist preoccupation with mind/matter dualism. Examples of Mondrian's works in color included.
From the Paper
"The grid is clearly the perfect artistic means by which to affect this ?liberation?, as it provides a structure predicated on an inherent and infinite formlessness. Its strict horizontal and vertical axes proved an excellent format for the controlled interaction of pure, primary planes of colour, and functioned as an independent, artistically alive (plastic) organism in which ??everything counterbalances everything else.? "
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Constructivism and Suprematism in Soviet Art, 2004.
This paper discusses two new art movements established as part of the new communist state in the first two decades of the 20th century in Russia, Constructivism and Suprematism.
1,430 words (approx. 5.7 pages), 6 sources, MLA, AU$ 68.95
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Abstract
This paper explains the Constructivism movement, which relied on geometric shapes and was almost mathematical, and the Suprematism movement, in which art, before all else, is spiritual. Suprematism carried much more symbolism than the Constructivist artwork, which emphasized function. The author describes the work of Alexander Rodchenko, Vladimir Tatlin, El Lissitzky, and Casimir Malevich. The paper summarizes that, despite the fact that political changes during the mid-1900s brought these abstract art movements almost to an end, the impact of these artists on Russia, Eastern Europe, and the West continues to this day. Illustrations.
From the Paper
"Rodchenko asserted that the concept of composition was a relic, because it was mere aesthetics and related to taste and other out-of-date artistic concepts. Instead, he said, composition had to be replaced by principles of construction and organization. ?All new approaches to art arise from technology and engineering and move towards organization and construction.? Construction represented the height of hundreds of years of artistic creation. It was part of the same process that led to Communist Russia. Rodchenko also stressed that a utilitarian element was present in the idea of organization and construction. The artist?s goal was not to create a work of art but rather a utilitarian product and solving technological problems. Such statements polarized the Constructivists and those who were strongly aligned with aesthetic concerns."
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Russian Constructivism, 2004.
An overview of the history and influences of the Russian Constructivist Movement.
2,221 words (approx. 8.9 pages), 11 sources, MLA, AU$ 100.95
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Abstract
This paper examines how Constructivism, an artistic and architectural movement, arose in Russia after the Revolution of 1917 and how the Revolution set the stage for one of the most remarkable transformations of artistic theory in the history of art. It looks at how the Constructivists strove to produce bold work in painting, sculpture, photography, and architecture through the use of new media and how they abandoned traditional media and embraced influences from the progressive and technologically advanced industrial society after the Revolution. Although there are many artists who have contributed a significant amount to the movement, it focuses on those made by Rodchenko, Malevich and Popova.
From the Paper
"The reforms of Alexander II brought the emancipation of the serfs and opened the way for industrial development. However, emancipation imposed harsh economic conditions on the lower class and did not satisfy their need for farmland. Industrialization concentrated people in urban centers, where the exploited working class was a receptive audience for radical ideas. By 1903, Russia was divided into several political groups. The autocracy was upheld by the landed nobility and the higher clergy; the capitalists desired a constitutional monarchy; the liberal bourgeoisie made up the bulk of the group that later became the Constitutional Democratic party; lower and middle class were incorporated into the Socialist Revolutionary party; and the workers, influenced by Marxism, were represented in the Bolshevik and Menshevik factions of the Social Democratic Labor party."
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Architectural Forms, 2002.
A comparison of various architectural forms.
650 words (approx. 2.6 pages), 5 sources, AU$ 38.95
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Abstract
This paper compares the manifestos on twentieth century architecture. Walter Gropius proposed an architectural form that was purely functional, and based on art and engineering. De Stijl's movement proposed abstraction and simplicity. Kasimir Malevich believed in minimal art in the form based on his ideas. Theo van Doesburg proposed elemental and functional architectural form. Antonio Sant'Elia's architectural form was the only negative and revolutionary one.
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