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26 April 2017
Composition with Large Red Plane, Yellow, Black, Grey, and Blue
The motto of minimalist art, Less is more, is very much present in the De Stijl
movement of 1917 1931. Piet Mondrian, a major contributor to this period coined the term
representational, elegant yet simple art form. Mondrians paintings during this period consisted
of a white ground, horizontal and vertical black lines which were then filled with the three
primary colours. Specifically, his painting Composition with Large Red Plane, Yellow, Black,
Grey, and Blue, (1921), housed at the Galleria Nazionale dArte Moderna in Rome, is just
one of many examples of the De Stijl style and Mondrians excellence and precision. This
painting tells a deep and emotional story, through its use of raw colour and geometric
simplicity. It allows the viewers to see a snapshot of the world through the artists eyes. Broadly
speaking, Mondrians goal, when creating not only Composition with Large Red Plane, Yellow,
Black, Grey, and Blue, but any of his De Stijl paintings, was to create an analytical and
essentialist conception of painting. Reducing forms to purely geometric (based on the right
angle) and using pure, untouched primary colour. Perhaps it was the simplicity of the style that
Right angles have always played an important technical, structural, and formal part not
only in art and architecture, but all over the world. The many right angles in Mondrians
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Composition with Large Red Plane, Yellow, Black, Grey, and Blue show that perhaps he is
using simple non-representational and simple shapes to act as the universal language. As right
angles, specifically squares, are balanced and symmetrical, creating an entire painting using
them is in a way, an allegory, to show peace, harmony, and balance in ones life. When looking
directly at the small painting, one will notice the focal point, which is the largest red square, in
the upper left quarter of the canvas. It is properly balanced by the other small rectangle in the
bottom right quarter. The eye is first drawn to the large red square, then continues to navigate
its way up to the yellow (in the top right quarter) and the subsequently down to the lone
rectangle of dark blue (in the bottom right quarter). It is felt, after carefully and intrinsically
decomposing the painting in the museum and taking many notes, that the thick, black
brushwork effectively defines the borders, and is successful in breaking up the differently
coloured geometric figures. If the black border work was not included by Mondrian, the
painting would look incomplete, and the squares and rectangles would be hard to define by the
eye, losing the paintings order and balance. Comparably, the black brushwork on the canvas,
indeed is very minimal but it is masterfully applied to become the defining feature of the work.
You will notice that Mondrian did not paint the borders of the canvas. This technique allows
the geometric shapes to appear infinite, and to the viewer, flow off the edges of the canvas
(during this period), Mondrian gives the viewer a summary of all existing possibilities,
allowing him/her to create a story for themselves. The basic colors allow for a summary of all
personal interpretation of the non-objective language due to its tendency towards essentialism.
This effectively suppresses all unnecessary and emphasizes the central elements.
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Shortly after Mondrian moved to New York City in 1943, he painted Broadway Boogie
Woogie. Even though it retains some elements of the De Stijl style, as seen in the
aforementioned Composition with Large Red Plane, Yellow, Black, Grey, and Blue, it is an
unconventional outlier to the style, as it strays away from the traditional conception of the
classic Mondrian painting. Even though it was not viewed in person, research and background
of the painting was obtained. Broadway Boogie Woogie is meant to represent a street map of
New York City and features identical colours, identical geometric squares and rectangles, but
lacks the black border brushwork. Instead, Mondrian choses yellow borders, representing the
Manhattan streets. This is what divides the geometric figures apart from each other. Even with
this division, Broadway Boogie Woogie is an overall more chaotic painting for the viewer.
There is much more movement and flow (as represented by the small squares which sit on the
yellow borders, somewhat resembling an optical illusion). The heavy movement and flow in
this painting is an obvious symbol, by Mondrian, for the hustle and bustle of New York City,
a city which he loved dearly. Balance, unity, and harmony (clearly a favourite attribute to
paintings by Mondrian) are also retained in Broadway Boogie Woogie. This is evident in the
equal placement of the plethora of red, blue, yellow, and white geometric rectangles and
squares. Therefore, it is undoubtedly quite simple to identify a Mondrian painting if you are
Lastly, it is worth noting the difficulty of decomposing modern art, due to its features,
or lack thereof. Modern art frequently lacks an explicitly stated message and often times, it can
contain elements that are not related to the artists message at all. For example, Piet Mondrians
Composition with Large Red Plane, Yellow, Black, Grey, and Blue, compositionally, is more
challenging to break down than for example, Caravaggios The Calling of Saint Matthew,
(1600). In the Baroque style, it is easy to see the figures, their expressions, and the message of
the painting because it is explicitly depicted for you. In Caravaggios linear painting, it is easy
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to see the moment at which Jesus Christ inspires Matthew to follow him, as it is clearly there
for you. However, this is not the case in Mondrians Composition with Large Red Plane,
Yellow, Black, Grey, and Blue. There are no figures, no depth of field, no objects that resemble
anything in our real world. All we are able to do, without knowing the artists intentions, is to
take an educated guess based on the formal elements of the painting, the elements and
principles of design and the way the artist paints, leaving modern art a true modern mystery.
In conclusion, Piet Mondrians Composition with Large Red Plane, Yellow, Black, Grey, and
Blue is a fine example of the Dutch De Stijl, or Neo-Plastic style. Mondrian uses only the
primary colours (with white and black) to create a simple, balanced painting with so much
hidden meaning. Even though the true meaning is unknown, we know that Mondrian must have
been a perfectionist because of his repeated patterns of geometric simplicity. His paintings
create an analytical and essentialist style. He was a master at reducing forms to purely
geometric (based on the right angle) and using pure, untouched primary colour. Perhaps it was
the simplicity of the style that gave it its name: De Stijl (The style). It is because of these
reasons, that the Dutch De Stijl movement is a personal favourite art movement. Mondrian
once said that The emotion of beauty is always obscured by the appearance of the object.
Bibliography
Mondrian, P. (1921). Composition with Large Red Plane, Yellow, Black, Grey and Blue.
Museo Nazionale d'Arte Moderna, Rome, Italy.
Mondrian, P. (1942-3). Broadway Boogie Woogie. Museum of Modern Art, New York City,
New York.