(The Morning, March 5, 2011) _____________________
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| The De Stijl movement ( Style ) played a key role in early 1900 in the genesis of abstract art design and left deep traces in the architecture, design and graphic arts. Therefore represents a key to understanding the prime sources of contemporary life. Bearing this principle was organized the exhibition Mondrian / De Stijl , visited the Centre George Pompidou in Paris until 21 March. The route of exposure is divided into three sections: it opens with the presentation of the origins of the movement and ends with its development. In between, the focus on works produced by Mondrian between 1912 and 1938 in its City of Light. Not to mention the side events organized for the occasion: workshops for the children or lectures to concerts, the reading of the correspondence Mondrian / Van Doesburg, just to name a few. But back to the movement that was founded in 1917, in the relative isolation of the neutral Netherlands, while the First World War is putting Europe on fire. The two most important artists are Piet Mondrian, the pioneer of abstract painting and leading theoretician of the group and Theo Van Doesburg, a painter, architect, art critic and editor of De Stijl . What unites them is the desire to spread the new vision of art that has clear references to Hegel's philosophy and theosophy, as well as the symbolism and the Fauves. Both are looking for a rhythm, a pulse dynamic color the right combination of elements invariant (primary colors and straight lines) in an attempt to make visible the essence of the world. What divides them, years later, will be feelings of emulation and rivalry. "The arts can not under any circumstances apply to each other," writes the Dutch painter Bart van der Leck also a member of the movement, "but their alliance has to move towards a synthesis." Here, then, attempts to combine elements of the diagonal through the polychromy and space, space and time, focusing on theories of the fourth dimension (space-time, in fact). In contrast with the idea of \u200b\u200borthogonality promoted by Mondrian. Initially naturalist painter (Of rare beauty and skill with the landscape with soft colors and melancholic), soon deviates from the representation of reality rather than going in search of the structures of expression of the universal nature. "The report layout is more alive," he theorized in 1920, "when it manifests itself in what is flat and straight." After the discovery of the Cubism of Braque and Cezanne and Picasso, he devoted himself to perfecting his theories: that is how the space transforms the canvas in a field of magnetic forces which seek balance plans, lines and colors. In the thirties and forties, its plasticity change further. Before the color disappears totally stole from the line, for reach the final seal of his paint right angle understood as universal rhythm and living reality. Without knowing anything about the history of the movement, the exhibition is so well designed that the visitor has the opportunity to "see" just walking through the halls, perceiving similarities and broken by the observation of the exhibits. To be sure, the section devoted to Mondrian is the most interesting, thanks for the reconstruction of his studio and video interviews with acquaintances and friends over the artist, make it possible to better know the man. Silvia Santirosi |
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