Piet Mondrian Quotes

Art on the contrary sought this harmony in practice [of art itself]. More and more in its creations it has given inwardness to that what surrounds us in nature, until, in Neo-Plasticism, nature is no longer dominant. This achievement of balance may prepare the way for the fulfillment of man and signal the end of (what we call) art.

The only problem in art is to achieve a balance between the subjective and the objective.

Art is not made for anybody and is, at the same time, for everybody.

Intellect confuses intuition.

By the unification of architecture, sculpture and painting a new plastic reality will be created.

The surface of things gives enjoyment, their interiority gives life.

abstract art is not the creation of another reality but the true vision of reality.

All painting - the painting of the past as well as of the present - shows us that its essential plastic means were only line and color.

The truly modern artist is aware of abstraction in an emotion of beauty.

Every true artist has been inspired more by the beauty of lines and color and the relationships between them than by the concrete subject of the picture.

The emotion of beauty is always obscured by the appearance of the object. Therefore, the object must be eliminated from the picture.

Vertical and horizontal lines are the expression of two opposing forces; they exist everywhere and dominate everything; their reciprocal action constitutes 'life'. I recognized that the equilibrium of any particular aspect of nature rests on the equivalence of its opposites.

I, too, find the flower beautiful in its outward appearance. But a deeper beauty lies concealed within.

I wish to approach truth as closely as is possible, and therefore I abstract everything until I arrive at the fundamental quality of objects.

I think you too recognize the important relationship between philosophy and art, and it is just this relationship that most painters deny. The great masters do grasp it, unconsciously; but I believe that a painter's conscious spiritual knowledge will have a much greater influence upon his art, and that it would be due only to a weakness in him, or lack of genius, should this spiritual knowledge be harmful to his art.

In art the search for a content which is collectively understandable is false; the content will always be individual.

To approach the spiritual in art, one will make as little use as possible of reality, because reality is opposed to the spiritual.

What is natural does not have to be a representation of something. I'm now working on a thing that is a reconstruction of a starry sky, and yet I'm making it without a given from nature. Someone who says he uses a theme from nature can be right, but also someone who says he uses nothing at all.

Why should art continue to follow nature when every other field has left nature behind?

The relation of color and the relation of proportion are both based on the relation of position.

Recognizing and uniting with the universal therefore gives us the greatest aesthetic satisfaction, the greatest emotion of beauty. The more determinately (consciously) this recognition is experienced, the more intense our happiness. The more determinately (consciously) this union with the universal is felt, the more individual subjectivity declines.

I don't want pictures, I want to find things out.

It is a task of art to express clear vision of reality.

I hate everything approaching temperamental inspiration,'sacred fire'and all those attributes of genius which serve only as cloaks for untidy minds.

Evolution is always the work of pioneers, and their followers are always small in number. This following is not a clique; it is the result of all the existing social forces; it is composed of all those who through innate or acquired capacity are ready to represent the existing degree of human revolution.

Observing sea, sky and stars, I sought to indicate their plastic function through a multiplicity of crossing verticals and horizontals. Impressed by the vastness of Nature, I was trying to express its expansion, rest and unity.

The unconscious in us warns us that in art we have to followoneparticular path. And if wefollow it, it isnotthe sign of anunconscious act.On the contrary, it showsthat there is in our ordinary consciousness a greater awareness of our unconsciousness.

The essence of painting has actually always been to make it [the universal] plastically perceptible through colour and line.

The position of the artist is humble. He is essentially a channel.

Cubism did not accept the logical consequences of its own discoveries; it was not developing abstraction towards its own goal, the expression of pure reality.

Colored planes, by their position and size as well as by their value, express only relationships, not forms.

Everything is expressed through RELATIONSHIPS.

This new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour.

The more basic the color, the more inward, the more pure.

If you follow nature you will not be able to vanquish the tragic in any real degree in your art... We must free ourselves from our attachment to the external, for only then do we transcend the tragic, and are enabled consciously to contemplate the repose which is within all things.

The colored planes, as much by position and dimension as by the greater value given to color, plastically express only relationships and not forms.