Учебно-методическое пособие для студентов специальности «Дизайн»
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Sugonyako
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The principle of neo-plasticism is a dialectic roughly reminiscent of Hegel, which Mondrian also calls the “general principle of plastic equivalence.” It in- volves not merely the plastic arts or even the arts as such, but all human activ- ity, all cultural production, all social existence. It is an apparent dualism meant to dissolve all particularity, all center, all hierarchy; any harmony that is not double, not constituted by an “equivalent opposition,” is merely an illusion. Whatever is not “determined by its contrary” is “vague,” “individual,” “tragic.” A certain return to traditional principles of composition occurs. Mondrian’s texts of the twenties refer to a universal “repose” and absolute balance, and dream of a perfectly equilibrated future society where every ele- ment will be “determined.” Mondrian considers each of his neo-plastic can- vases as the theoretical and microcosmic model of a macrocosm yet to come. Painting is reduced to a group of “universal,” atomic elements: planes of pri- mary color opposing planes of “non-color” – gray, black, white; vertical lines opposing horizontal lines while probing the various planes that they delimit on the surface of the canvas. From 1920 to 1932, these elements are indefinitely combined into independent totalities, which have become the matrix for a uni- verse where movement is entirely banished. In the early thirties, both the art and the theory undergo a radical change. The immobility of “repose” is displaced in favor of the concept of “dynamic equilibrium”. (Thereafter, “repose” will be associated with symmetry, thus with “similitude” and repetition, thus with the natural.) This yields an immedi- ate pictorial translation: the lines, hitherto regarded as being of secondary im- portance in relation to planes – functioning only to “determine” them – now become the most active element of the composition. Mondrian proceeds to give a destructive function to lines: their crossing annihilates the monumental and static identity of the planes, abolishes them as rectangles (as form). The next stage is to abolish line itself (as form) by means of “mutual op- positions,” which Mondrian explicitly attempts in his New York work. But this last destruction only becomes possible when repetition is openly accepted; and the acceptance of this possibility – whose exclusion is the point of depar- ture for neo-plasticism – prepares the way for another radical transformation in Mondrian’s theoretical machine; he discovers a need to destroy the entity known as the “surface.” But far from just returning to the optical oscillations of the modular grids of 1918–1919, which perturb our perception, Mondrian imagines another way to prevent our formal apprehension of the picture’s sur- face: a weaving in thickness of colored strips whose complexity overwhelms us. The last New York canvases, including the unfinished “Victory Boogie Woogie”, whose structure he worked to complicate a week before his death, 136 are the exploration of this last possibility, offering the spectator the vertigo of a shallow depth that is charged with the task of “liberating our vision.” Bois Y. A. Piet Mondrian // Joop Joosten, Angelica Zander Rudenstine, Hans Janssen. Boston; New York; Toronto; London, 1994, P. 315–316. жүктеу/скачать 0,79 Mb. Достарыңызбен бөлісу:
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