Apple Tree

Surname 1
Piet Mondrian, Apple Tree, Pointillist Version, 1908-1909 analysis
Pieter Cornelis Mondriaan, better known as Piet Mondrian (1872-1944) was a Dutch
avant-garde painter and founder of Neoplasticism. He was a member of De Stijl (who founded
Theo Van Doesburg) and underwent a great evolution from figuration to abstraction, of which he
is one of the best representatives. De Stijl was a magazine created in 1917 in Paris, of which Piet
Mondrian can be considered the representative (Darwent, 2014). All his works are very similar,
it does not cost to recognize them against those of other authors. Mondrian belongs to cubism.
Cubism is a concrete visual system, which is dominated by a planivision (Cubists are a
division of reality into planes, but these planes do not see them as we usually see them, but there
is going to be an inner vision of them, every cubist does it differently) (Blotkamp, 2004). It is a
contemplation of the figurative reality. From here we will not yet reach abstraction. The artist
sees reality by planning it in different planes. Gradually these plans are going to make the
contact with reality is becoming smaller, in such a way that cubism is going to evolve and is
becoming increasingly hermetic (a cubism where only the painting are flat but no longer there is
an adequacy with reality, authentically it cannot be said that it is an abstraction but in reality the
spectator does not know what the artist wants to shape because he does not identify it with
Surname 2
The work "Apple Tree" was created in 1909. In the Apple Tree, the figures not
composed of dotes are the human circle, the sun, and the coffin-like figures. The latter is
indicated where parts of the coffin-figures appear without the dots outside the other figures. This
may suggest that everything is composed of atomic particles except the human spirit and what
becomes symbolic of its own immaterial character. Though it regrets leaving this life, there is
hope for it beyond. There are questions which remain. One of them is: why are the sun, the dots,
and the background the only non-transparent elements? Maybe they represent the opacity of
matter. And what does the circle in the middle of the lower portion of the canvas represent? It
calls out both to the humanoid circle and to the circle of the setting sun. Is it the Earth?
In it are present the geometrized planes (Introvigne, 2014). He has a chromatic range in which he
uses only the colors he calls pure colors, predominantly gray and cold colors like blue. In this
painting, Mondrian intends to contemplate reality on the basis of planes, and thus belongs to
analytic cubism, which he discovers from 1911 until 1914.
It is still not a total (or geometric) abstraction in which he is only interested the straight
line. Mondrian's experimentation with analytic cubism tends towards a greater abstraction based
on the two-dimensionality of paintings and the loss of compositions. All this takes us to forms
almost absolutely geometric, as you can see perfectly in this work the geometric forms invade
the composition. It is mainly about ovals, spheres that the receiver simplifies.
To draw the line of the figures uses a thick and black outline. These are lines that meet
continuity and give a feeling of volume for its intensity. There is an existence of color gradations
and contrasts, and on the edges of the painting a clear light. As for its composition is a
distribution of complex figures and curved lines. The work is static, subjective and original. For
Mondrian, the indefinite spherical and linear continuity reflect a dramatic conflict
Surname 3
Blotkamp, Carel (2004) Mondrian: The Art of Destruction. London. Reaction
Books Ltd. pp: 9
Gardner, H., Kleiner, F. S., & Mamiya, C. J. (2006). Gardner's art through
the ages: the Western perspective. Belmont, CA, Thomson Wadsworth: 780
Darwent, Charles (2014) Complex Simplicity: The Enduring Influence of
Introvigne, Massimo (2014). "From Mondrian to Charmion von Wiegand:
Neoplasticism, Theosophy and Buddhism". In Noble, Judith; Shepherd, Dominic; Ansell,
Robert. Black Mirror 0: Territory. Fulgur Esoterica. pp. 4961.

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