Mondrian versus van Doesburg
Analysis based on the 1922 composition and the simultaneous counter-composition from 1929/30
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This thesis aims to examine the theories of Piet Mondrian and Theo van Doesburg based on the 1922 composition and simultaneous counter-composition. A strictly formal analysis of both works creates the basis for an iconography of abstract pictorial means in relation to the works mentioned. This is followed by an evaluation within the artist's body of work, which also shows how the basis for the two compositions was created in previous paintings. An examination and interpretation of the pictorial means and theories shows that movements such as constructivism and proto-deconstructivism and doctri...
This thesis aims to examine the theories of Piet Mondrian and Theo van Doesburg based on the 1922 composition and simultaneous counter-composition. A strictly formal analysis of both works creates the basis for an iconography of abstract pictorial means in relation to the works mentioned. This is followed by an evaluation within the artist's body of work, which also shows how the basis for the two compositions was created in previous paintings. An examination and interpretation of the pictorial means and theories shows that movements such as constructivism and proto-deconstructivism and doctrines of aesthetics, religion and materialism influenced both artists. These investigations of hidden meanings are based on Erwin Panofsky's three-stage model. Contrary to the opinion of many that modern art has no meaning and says nothing that is universally understandable, this work shows that there is more to the works of artists such as Mondrian and van Doesburg than meets the eye. Thus, the goal of meaningless abstract art, as pursued by Mondrian and van Doesburg, has not been achieved.
