Just before World War II, Piet Mondrian fled from Paris to London and later to New York, where he lived until his death in 1944. Upon his arrival in Manhattan, the artist began reworking seventeen of the paintings be brought with him, many of which had already been finished and exhibited. He changed lines and added blocks and bars of color to give them what he called "more boogie-woogie". In this groundbreaking book, Harry Cooper, an authority on Mondrian's art, and Ron Spronk, an expert on the technical examination of paintings, investigate the artist's so-called transatlantic paintings and his unusual working method during this period. Their collaboration offers an intimate look into the studio of one of the greatest modern artists and establishes a new model for the integration of art history, theory, and technical analysis. The book begins with two essays by Cooper that discuss the critical reception of Mondrian's work, the place of the transatlantic paintings in the evolution of his art, and the particular significance of their dates and titles. Spronk's essay presents technical discoveries based on the author's original research, reproducing and interpreting many new X-radiographs, photomicrographs, and photographs taken under ultraviolet and infrared light. The catalogue features such major paintings as Place de la Concorde (1938-43) from the Dallas Museum of Art and No. 12 (1936-42) from the National Gallery of Canada. Each work is discussed in a comprehensive entry accompanied by a dazzling array of illustrations that take the reader under the surface of the painting to reveal its genesis. This is the catalogue for an exhibition that opens at the Harvard University Art Museums in April 2001 and then travels to the Dallas Museum of Art.
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Book Description
Editorial Reviews
From the Publisher
Published in association with the Harvard University Art Museums
About the Author
Harry Cooper is associate curator of modern art at the Fogg Art Museum, Harvard University Art Museums. Ron Spronk is associate curator for research at the Straus Center for Conservation, Harvard University Art Museums.
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review of the transatlantic paintings,
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This review is from: Mondrian: The Transatlantic Paintings (Hardcover)
An excellent exhibition catalog that focuses on a narrow body of works by Mondrian; namely, paintings that Mondrian brought with him on his flight from World War II in Europe to New York City, and that he either finished in New York or re-worked completely, thus the name "transatlantic paintings." These works are largely a response to the vibrant city life Mondrian enjoyed in New York, seeing the city as an embodiment of his utopian ideas of life in the future for all mankind. Part of this response included Mondrian's embracing of a musical fusion of blues and jazz music called boogie-woogie.The photographs are made with the most advanced technology available, and give new insights into Mondrian's working methods, chronicaling his many revisions with x-ray and ultraviolet photography, among other techniques. Extreme close-ups are provided of small details that are otherwise impossible to see with the naked eye. This book is not for the casual reader looking for biographical or career retrospective information on Mondrain, as its focus is too narrow, but is designed for those interested in the final period of Mondrian's career, and those interested in the conservation and restoration of paintings.
4.0 out of 5 stars
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This review is from: Mondrian: The Transatlantic Paintings (Hardcover)
Good and cheap for what it is; too bad the seller would not mail it to my place in France; i had to have it sent through an American friend.
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