Historical, Philosophical, Political and Law Sciences, Culturology and Study of Art. Issues of Theory and Practice. Tambov: Gramota, 2014. № 9. Part 2. P. 173-176.
SYMBOLIST PERIOD IN CREATIVITY OF PIET MONDRIAN OF 1900-1911
Tyutrina Ekaterina Aleksandrovna
St. Petersburg State Academic Institute of Painting, Sculpture and Architecture named after I. E. Repin of Russian Academy of Arts
Abstract. The author studies some of the early pictures of Piet Mondrian, which conventionally belong to symbolist ones, and tends to emphasize the main graphic techniques and those philosophical principles that the artist followed in that period of his creativity. Drawing comparisons with the works of the contemporaries and like-minded people of the artist, the author pursues the object to reveal the distinctions and key peculiarities of Mondrian’s painter’s method.
Key words and phrases: голландский символизм, Тоороп, Мондриан, женские образы, раннее творчество, теософия, the Dutch symbolism, Toorop, Mondrian, female images, early creativity, theosophy
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Alderton Z. Colour, Shape, and Music: The Presence of Thought Forms in Abstract Art // Literature & Aesthetics. 2011. 21 (1). R. 236-258.
Blotkamp C. Mondrian: The Art of Destruction. London: Reaktion Books Ltd., 2001. 261 r.
Deicher S. Piet Mondrian, 1872-1944: Structures in Space. K?ln: Taschen, 2004. 95 r.
Jaff? Hans L. C. Piet Mondrian. Thames and Hudson. London, 1970. 163 r.
Sciam M. Piet Mondrian. An Explanation of the Work. 2004. R. 27-38.
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