Mondrian

28 October 2006 - 25 March 2007 | Brescia, Museo di Santa Giulia

curated by Freed Leeman and Marco Goldin

UA truly unique opportunity for the Italian scene, this exhibition of one of the greatest artists of the twentieth century: Piet Mondrian. Possibilegrazie exposure to the generous collaboration of the Gemeentemuseum Hague - which houses the largest collection of works by Mondrian - and thanks to private providers and other museums that work together to ensure that the exhibition documents in full the artistic career of the artist. One hundred works illustrate the entire research of Mondrian, from his beginnings as a landscape, in the vein of traditional realism Dutch Hague School, to geometric shapes with black stripes intersecting planes white lines defining squares of red, yellow and blue, works for which it is best known. The luminosity - the Dutch version of Fauvism - had shown him the way to release the color from its connotation towards a realistic geometric shapes, in a research essentially different from the Cubist, which also had influence in Paris in the years immediately preceding the first World War. Mondrian never considered art as a purely visual or formal and his way of thinking - never completely detached from the cultural and religious heritage Dutch - made ??it impossible to separate form from its spiritual content and even moral.
This was, in fact, the stylistic feature that characterized his painting in the twenties, when brought to full fruition his research towards abstraction in an amazing range of jobs. Some of them remarked the concrete hanging as diamonds. But even in these paintings-board so radical, it is clear his irresistible desire to rely on intuitive and minimal changes compared to basic principles that govern his painting.
The peculiarity of Mondrian was not only his ability to make an ever greater purity meditated line painting, bringing this process to its most extreme consequences, and its size was also accepted to be continually renewed, even if it meant destroying the above principles, and call into question the function which he attributed to the line.