DOI issue:
Nr. 1-2
DOI article:Buszko, Anna: Filozoficzne treści sztuki i malarstwa Pieta Mondriana
DOI Page / Citation link: https://doi.org/10.11588/diglit.48917#0036
ANNA BUSZKO
dynamie relations which rule the world and which re-
semble the world of the spirit envisaged in theosophic
metaphysics.
If we examine Kandinsky’s works from the point of
view of the speculations pursued by Mondrian, then we
can surmise its negative classification. Similarly, frag-
ments of Kandinsky’s writings appear to be a descrip-
tion of certain paintings by Mondrian. The dissemina-
tion of an art which would be similar to them was to be
accompanied (according to the Russian abstractionist)
by a spiritual speechlessness which is simultaneous with
the external clamour of the world.
Against the background of theosophical metaphy-
sics (in which they were enrooted), the theory and works
of both artists, however, were not contradictory but
complimentary; this is the essence of the distinetness of
their formal conventions. The very objects of their art
differed. A possibility of mutual critique would, there-
fore, have existed only in reference to the acceptance of
the purposefulness of a given theme.
Apparently, a departure from a negative attitude
towards the presentation of emotions in art, discern-
ible in the last stage of Mondrian’s works, remains
in greater harmony with the views voiced by the
leadersof the theosophic movement than his earlier
paintings which disclose a different expression, and
which are morę concurrent with the theory of Neo-Pla-
sticism.
Translated by Aleksandra Rodzińska-Chojnowska
26
dynamie relations which rule the world and which re-
semble the world of the spirit envisaged in theosophic
metaphysics.
If we examine Kandinsky’s works from the point of
view of the speculations pursued by Mondrian, then we
can surmise its negative classification. Similarly, frag-
ments of Kandinsky’s writings appear to be a descrip-
tion of certain paintings by Mondrian. The dissemina-
tion of an art which would be similar to them was to be
accompanied (according to the Russian abstractionist)
by a spiritual speechlessness which is simultaneous with
the external clamour of the world.
Against the background of theosophical metaphy-
sics (in which they were enrooted), the theory and works
of both artists, however, were not contradictory but
complimentary; this is the essence of the distinetness of
their formal conventions. The very objects of their art
differed. A possibility of mutual critique would, there-
fore, have existed only in reference to the acceptance of
the purposefulness of a given theme.
Apparently, a departure from a negative attitude
towards the presentation of emotions in art, discern-
ible in the last stage of Mondrian’s works, remains
in greater harmony with the views voiced by the
leadersof the theosophic movement than his earlier
paintings which disclose a different expression, and
which are morę concurrent with the theory of Neo-Pla-
sticism.
Translated by Aleksandra Rodzińska-Chojnowska
26