#Mondrian
PIET MONDRIAN, GRANDE COMPOSIZIONE A (1919–1920) ⬇️
Con Grande composizione A, Piet Mondrian porta la pittura verso una delle sue forme più radicali: l’immagine si libera da ogni riferimento alla realtà naturale e si costruisce attraverso linee rette, campiture essenziali e colori primari.
Nero, rosso, grigio, giallo e blu si dispongono sulla tela secondo un equilibrio rigoroso di verticali e orizzontali. La composizione appare immobile e insieme dinamica: ogni elemento sembra rispondere all’altro in una sequenza ordinata, come un ritmo visivo fatto di pause, tensioni e corrispondenze.
Realizzata tra il 1919 e il 1920, l’opera appartiene a una fase decisiva della ricerca di Mondrian, in cui l’artista riduce progressivamente la pittura ai suoi elementi fondamentali. Forma e colore diventano strumenti per raggiungere un’armonia universale, fondata sulla semplificazione, sulla misura e sulla purezza geometrica.
Osservando la tela, è possibile cogliere quella tensione ritmica che, molti anni dopo, troverà un’eco nelle opere ispirate al boogie-woogie: un movimento composto, disciplinato, fatto di linee che si incontrano e si bilanciano nello spazio.
Grande composizione A è inclusa nel volume 100 capolavori della GNAMC, curato da Renata Cristina Mazzantini e Riccardo Salvatori e pubblicato da Electa, che raccoglie cento sguardi sulla collezione della Galleria.
#PietMondrian #GrandeComposizioneA #GNAMC
Piet Mondrian celebrates his birthday today. 100 years after transforming the art world with his block colours and grids, his influence even crossed into fashion 60 years ago, when Yves Saint Laurent created the iconic ‘Mondrian’ dress that changed style forever.
#abstractartwork #londondays #londontravel
Sold! Piet Mondrian’s ‘Composition III’ realised £25.2 million during Christie’s 20th and 21st Century: London Evening Sale this evening.
One of the most anticipated highlights of the sale, ‘Composition III’ is one of just eight works the artist completed in 1920. It was a powerful statement of intent by Mondrian, distilling his pictorial language to its essential fundamentals of pure colour and line.
‘Composition III’ sold during the 20th and 21st Century art auction series at Christie’s London.
Designed by the visionary Marcel Wanders, Mondrian Doha is a masterwork of bold imagination—from its surreal “Tree of Life” lobby forest to its award-winning, globally acclaimed dining.
Yet, nestled beneath this vibrant, artistic energy lies the ultimate counterweight: ESPA Spa, designed by @espadesignandconsultancy, a peaceful, dreamlike sanctuary crafted to quiet the mind and restore the body.
Together, they offer a complete journey for the senses—inviting you to indulge in the hotel’s striking creative spirit by day, and surrender to a personalised path of pure, natural restoration by night.
Experience the beautiful contrast of Doha’s most iconic destination.
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* Artist Talk: Dutch landscape *
‘This is a landscape I’m really happy with’, says Mark Manders. It’s his version of a Dutch landscape - made in Belgium, where he works, inspired by Mondrian and De Stijl. It shows a delicate balance of different painted moments of the day. ‘If I’d painted just a little more blue there, it would have fallen out of balance.’
Want to see this work up-close? Of course you do! Head over to Voorlinden and get your tickets in advance via tickets.voorlinden.nl (link in bio)!
Mark Manders (1968) | Field Fragment, 2022
Music: @jan_dhaene_music
#Voorlinden #MarkManders #artisttalk #sculpture #contemporaryart #nowondisplay
Vote for us in the Hotel category for the Travel + Leisure World’s Best Awards 2026 📍
Friends of Mondrian Doha, your support means everything to us!
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Il rosso, il giallo, il blu e la disciplina geometrica di Piet Mondrian continuano a definire l’estetica di molte case contemporanee, spesso senza che se ne riconosca l’origine. Ecco perché.
✍️ @nicolasballario
📹️ @cucu_milano
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#pietmondrian #gerrittrietveld #schroderhaus
Step into the sunlight and see #CAMONSlim in Mondrian New come alive with sunlight-activated, Mondrian-inspired color blocks — art you can hold, style you can share. ☀️🎨
#CAMONSlim #HoldThinMoodon #TECNOAI #TECNOGhana
1️⃣ Düsseldorf, 2022. Curator Susanne Meyer-Büser is preparing a Mondrian exhibition and looking again at the work New York City I. In front of her is a white canvas crossed with red, blue, yellow, and black strips. The painting has been in the museum’s collection since 1980. It has been shown to the public, discussed in catalogs, and analyzed in lectures. But suddenly, the dense cluster of lines at the bottom starts to look less like an artistic choice and more like a mistake.
2️⃣ The work was created in 1941, after the artist moved to New York. Mondrian did not paint the lines with a brush. He attached colored adhesive strips to the canvas, moving them around as he searched for the right rhythm. He never finished or signed the piece. So there was no simple clue that would usually answer the question: which side is the top?
3️⃣ The key detail was found in an archive. In a photograph of Mondrian’s studio taken shortly after his death, the work appears the other way around: the dense tangle of lines is at the top. A similar arrangement can also be seen in the finished version of the composition. That is how the theory appeared: during one of the first unpackings, the canvas may simply have been turned the wrong way, and later museums repeated the position that had already been accepted as correct.
4️⃣ It might seem easy: take the work down and turn it around. But over the decades, the adhesive has weakened, and some of the strips are barely holding on. If the painting is rotated, gravity could pull them in a new direction, and parts of the composition might come away from the canvas. So the museum left it as it is.
What matters more: showing the artist’s intention correctly, or preserving the artwork in the condition in which it survived?
✔️ Join @julia.dov.ai - we're just getting started
“Veil”, oil on canvas.
“The position of the artist is humble. He is essentially a channel,” -Piet Mondrian
Mondrian is inspired by people.
People who see things differently, question what’s expected and find new possibilities - including how fashion can be made more sustainably.
This year, @mondrianhongkong is teaming up with @getredressed once again for the Redress Design Award, celebrating a new generation of designers from around the world who are challenging the way we think about fashion and exploring more sustainable ways of creating and making.
#MondrianHotels #MondrianHongKong
#ExhibitionTour ✨
🇬🇧 This room is dedicated to the "Exhibition of Abstract and Concrete Art," held at Guggenheim Jeune in 1939. Forty-five works by twenty-three international artists, from Jean (Hans) Arp and Barbara Hepworth to Vasily Kandinsky and Piet Mondrian, introduced London audiences to the many expressions of abstraction.
Opening on the eve of World War II, the show also carried a political charge, bringing together émigré artists and others condemned as "degenerate" by the Nazi regime. Among the highlights is Mondrian's "Composition No. 1 with Grey and Red 1938 / Composition with Red 1939" (1939), which Peggy Guggenheim acquired for her collection during the exhibition.
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🇮🇹 Questa sala è dedicata alla “Exhibition of Abstract and Concrete Art”, presentata nel 1939 a Guggenheim Jeune. Quarantacinque opere di ventitré artisti internazionali, da Jean (Hans) Arp a Barbara Hepworth, da Vasilij Kandinskij a Piet Mondrian, introducono il pubblico londinese alle molteplici espressioni dell'astrazione.
Inaugurata alla vigilia della Seconda guerra mondiale, la mostra assume anche un forte significato politico, riunendo artisti emigrati e altri perseguitati dal regime nazista, che li definisce "degenerati". Tra i capolavori esposti spicca “Composizione n. 1 con grigio e rosso 1938 / Composizione con rosso 1939” (1938–39), acquisita da Peggy Guggenheim per la sua collezione proprio in occasione della mostra.
#PeggyGuggenheimInLondon
