(Short summary)
Through twenty years, Mondrian made only one type of paintings. In all of them, straight black lines are visible, which always meet each other through a vertical angle. The squares and rectangles which result in that, are filled with the colours blue, yellow, and red in their most pure form that is available by the thesises of the chromatics (a discipline of physics). Beside the listed above, only the colour grey makes appearances in the squares. Mondrian could draw especially well, he was considered as one of the most exceptional classic and traditional painters of his era. Regardless of this, he avoided the traditional way of painting and instead he painted these colourful squares only. Why did he do this, when he earned no revenue, zero money from these paintings? The author searched for the answer to this question in this essay.
Very few understand the Mondrian’s path that led to this which the author of this essay now clearly presents and verifies from the painter’s life and from data of Mondrian’s theoretical writing. The painter strived to develop a purified and fully cleared form of painting, a style of painting where the aspects of sculpturing, architecture and other branches of arts are excluded. First Mondrian ceased to include plasticity, then tectonics, afterwards he excluded the reflecting and presenting of any subjects, then the suggestion of any meaning in his artwork. Each of his steps led to a new view of life and a new special feeling of life, and these are explored sequence by sequence in the text of the essay. Also, the author makes it clear, that why these paintings cannot be created by anyone, neither an ordinary person nor a playing child.
ANDREW R. DAMU