Have one to sell? Sell on Amazon
Flip to back Flip to front
Listen Playing... Paused   You're listening to a sample of the Audible audio edition.
Learn more
See all 2 images

Natural Reality and Abstract Reality: An Essay in Trialogue Form (1919-1920) Hardcover – March 1, 1995

See all 2 formats and editions Hide other formats and editions
Amazon Price New from Used from
"Please retry"
$33.75 $5.39
--This text refers to an out of print or unavailable edition of this title.

Customers Who Viewed This Item Also Viewed


Product Details

  • Series: 1919-1920
  • Hardcover: 112 pages
  • Publisher: George Braziller; F First Edition Thus edition (March 1995)
  • Language: English
  • ISBN-10: 0807613711
  • ISBN-13: 978-0807613719
  • Product Dimensions: 8.3 x 5.5 x 0.9 inches
  • Shipping Weight: 12 ounces
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #3,161,753 in Books (See Top 100 in Books)

Editorial Reviews

Language Notes

Text: English (translation)
Original Language: Dutch

More About the Author

Discover books, learn about writers, read author blogs, and more.

Customer Reviews

4.5 out of 5 stars
5 star
4 star
3 star
2 star
1 star
See both customer reviews
Share your thoughts with other customers

Most Helpful Customer Reviews

9 of 9 people found the following review helpful By Lane Banks on June 15, 2000
Format: Paperback
Subtitled "While Strolling from the Country to the City," this trialogue presents Mondrian's idealistic theories regarding art and life as a narrative occurring in real time rather than as a manifesto. The participants are identified only as "Y," a layman; "X", a naturalistic painter, and "Z," an abstract-real painter, obviously Mondrian himself. Taking place at six sites in the countryside at night while observing various natural and manmade phenomena, the trio discuss the relationship between art and life, and naturalistic vs. abstract art, finally ending in the studio of Z. The discussion is a re-working of Mondrian's ideas already presented in the previous essays "The New Plastic in Painting" (1917) and "Dialogue on the New Plastic" (1919).
Mondrian's clever use of the conversational format serves a dual purpose - it is his attempt to convince the world at large, represented by the layman and the naturalistic painter, of the necessity for the new in art (specifically Mondrian's own); and presents in written form the contrast of opposites so necessary in Mondrian's painting, the pairing of the naturalistic art (the "tragic") with abstraction (the "universal").
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again
6 of 6 people found the following review helpful By wiredweird HALL OF FAMETOP 500 REVIEWER on May 23, 2004
Format: Paperback
- or tries to. This brief book is a socratic conversation between three speakers: Mondrian's representative of the new, an agent of the old, and the naif in need of explanations.
The translator's notes quote Mondrian, in some other context, as saying that "writers are the worst criminals." Mondrian goes on to prove that in the example his own writing. The tone is strident and authorative. The line of development, however, has no apparent basis in logical reasoning. To my eye, it is barely comprehensible. (The two brief 'stream of consciousness' pieces at the end border on gibberish.)
As near as I can tell, Mondrian uses this book to predict some Edenic future where the arts have mostly passed away as separate activities. Instead, artistic expression would be fully integrated into the acts and artifacts of daily life. (OK, I'll go along with that.) He further insists that individual personality would be excised from art, replaced by self-working laws of esthetics and balance, somehow defined by the 'spirit of the times'. This writing dates from the era (1919-1920) when Bauhaus thinking was being developed and deployed, so I'm not surprised to hear Mondrian echo what was being said elsewhere.
What left me baffled, however, was a pair of assertions. First was that the new kind of vision was developing in the world, with historical inevitability, the vision that Mondrian attempted to explain. Second was that only a new kind of man (women were not named) would be able to share in this sensibility. It seemed that an esthetic that did not yet exist would be expressed only by a species that did not yet exist. Huh?
I did not pick this book up to be swayed by its logic or commentary. If I had, I would have been disappointed.
Read more ›
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again

Customer Images

What Other Items Do Customers Buy After Viewing This Item?