The most recognized Piet Mondrian paintings are abstract paintings of colored squares, rectangles and thick black lines. Piet Mondrian was a famous abstract painter, born in the Netherlands in 1872. Piet did not start out painting squares and rectangles. He only started so during the tail end of the Impressionism movement.
A unique personal style was involved in the creation of Piet Mondrian paintings. Termed neo-plasticism by Piet himself, they are not based on outside artistic influences or typical techniques. Instead, they are interpretations of deeply felt philosophical beliefs of theosophy and anthroposophy. The former is a religious mysticism which sought to help humanity achieve perfection while the latter held that the spiritual world was directly accessible through the development of the inner self.
Piet Mondrian paintings gradually began to simplify and abstract the colors and shapes of their subject matter, as Piet explored nature his own way. This process of simplification and reduction eventually became evident even in his paintings not related to nature in any way.
The first truly original work among the Francis Bacon paintings was the Crucifixion, a small spectral painting clearly indebted to the biomorphs of Picasso. In 1944, Francis Bacon riveted the attention of both public and critics with his Three Studies for Figures at the Base of a Crucifixion. With its hot orange background and stone-colored monsters of vaguely human descent, the painting left a lasting and disquieting impression on its viewers.
Included among Francis Bacon paintings is an assemblage of meat carcasses and a mutilated, almost headless man beneath an umbrella. By 1948, Francis developed the technique of painting on the wrong side of the canvas or the unprimed side. He found the technique precisely attuned to his temperament that he continued its use till the end of his life.
There are a number of Francis Bacon paintings that stood apart in exhibitions. A prime example would be Head VI, a 1949 creation. Featuring a sensuous purple cape, it was actually a variation on Velazquez's Portrait of Pope Innocent X. With obsessive integrity, Francis mined the theme throughout the succeeding decade. This dependency on other artists' work was expressed in the form of reproductions. Rather than limiting Francis, it actually encouraged him to take on extravagant licensing in his art.
A unique personal style was involved in the creation of Piet Mondrian paintings. Termed neo-plasticism by Piet himself, they are not based on outside artistic influences or typical techniques. Instead, they are interpretations of deeply felt philosophical beliefs of theosophy and anthroposophy. The former is a religious mysticism which sought to help humanity achieve perfection while the latter held that the spiritual world was directly accessible through the development of the inner self.
Piet Mondrian paintings gradually began to simplify and abstract the colors and shapes of their subject matter, as Piet explored nature his own way. This process of simplification and reduction eventually became evident even in his paintings not related to nature in any way.
The first truly original work among the Francis Bacon paintings was the Crucifixion, a small spectral painting clearly indebted to the biomorphs of Picasso. In 1944, Francis Bacon riveted the attention of both public and critics with his Three Studies for Figures at the Base of a Crucifixion. With its hot orange background and stone-colored monsters of vaguely human descent, the painting left a lasting and disquieting impression on its viewers.
Included among Francis Bacon paintings is an assemblage of meat carcasses and a mutilated, almost headless man beneath an umbrella. By 1948, Francis developed the technique of painting on the wrong side of the canvas or the unprimed side. He found the technique precisely attuned to his temperament that he continued its use till the end of his life.
There are a number of Francis Bacon paintings that stood apart in exhibitions. A prime example would be Head VI, a 1949 creation. Featuring a sensuous purple cape, it was actually a variation on Velazquez's Portrait of Pope Innocent X. With obsessive integrity, Francis mined the theme throughout the succeeding decade. This dependency on other artists' work was expressed in the form of reproductions. Rather than limiting Francis, it actually encouraged him to take on extravagant licensing in his art.
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