I used to draw and paint in high school, oh so many years ago, and only picked it up again in the last few years. Since then I've been practicing in watercolor, acrylic, oil, graphite, charcoal, and pastel. I've also messed around some with collage and mixed media. To characterize my style as "eclectic" is an understatement: I like to imitate the style of many artists, from Michelangelo to Modernism. One of my favorite strategies is to take an artist who happens to be inspiring me at the moment from a book or a recent visit to an art museum, and imitate what he or she is doing in order to get inside of the art and learn something.
Though I have a particular fondness for gestural abstraction, such as in the work of Willem de Kooning and Jackson Pollock, last week I decided to take one of my long-unused square canvases (24" X 24") and "do a Mondrian." Though the paintings of Piet Mondrian do not inspire any kind of deep pathos in me, I find his abstract works interesting from the point of view of composition--especially the balance of elements within the compositional space. In his case, grids of black lines and geometric shapes of (mostly) primary color.
I started out with a mock-up of a possible composition of a "lozenge"--a rhombus, or diamond-shape. Mondrian did some of these and I wanted to see if I could do one, too. The mock-up, using construction paper, looked like this:
This gave me a point to begin, but did not dictate how the final composition would look, as you can see:
My work imitates Mondrian's style, but does not duplicate any of his lozenges that I know of. It was a step-by-step compositional process as well. My first line was the vertical black one on the left, next to the blue triangular area (which I painted after the line had dried). I believe (I didn't keep track) the next one was the right-hand vertical black line at center right which runs down the right side of the yellow area. After adding a thicker black line on the bottom half of the lozenge, I decided to paint in another vertical black line to make a double track. I have seen this in Mondrian's compositions, but to me it simply felt right both for the sake of balance and interest. Thereafter, the lines and blocks of color were added, one by one, and sometimes tweaked for balance, not only from right to left, but from top to bottom. For example, the top horizontal line under the red patch was thickened near the end of the painting process because the top felt too "light" to me in terms of weight, even with the deep cadmium red there. (It was an odd and interesting thing to consider the relative "weight" of colors in this kind of painting) The final patch I added was the small triangle of black at the bottom of the blue triangle where the two lines intersect. Then it was done.
I'm not sure I'll do another one of these, but I do like how it came out, and my respect for Mondrian's skill as an artist was confirmed. Doing one of these pieces is not easy and it took me a full week to complete it, even though I was using fast-drying acrylics. Mostly, I needed time to just look and let the painting tell me what to do next.
There's a purity of form in Mondrian's geometric compositions that is satisfying to undertake, at least to me as an artist, though not in the same way as hurling paint at a canvas, which I also like to do.
I'd appreciate any comments you'd like to make about this post.
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