Leave the motherland and come to Paris. At that time, cubism was moving from the analysis stage to the three-dimensional synthesis stage, and he was attracted by the analysis school. At this time, his favorite themes are trees, sand dunes, oceans, churches and windmills, which are closely related to his familiar Dutch environment. In this painting "The Grey Tree", he combines the expressionism of Van Gogh, the nondescript color of Fauvism and the linear pattern of French Art Nouveau movement, making it a constructive and strongly sculptural work, but it is still very original. This painting was created in 19 12, with a size of 78* 107 cm. It is now located in the Gemcente Museum in The Hague, the Netherlands. 19 12, mondriaan has fallen into the block structure of cubism. In his early years in Paris, influenced by Picasso and Braque's analytical cubism, his colors were limited to gray, green and ochre. Nevertheless, even in his most cubist paintings, he still insists on purely positive forms. He seldom draws inclined planes of objects or adds a little sculpture projection. Only the inclined plane or sculptural projection makes the works of French cubist painters have a precise and limited sense of entity in three-dimensional space. Although mondriaan is keen on the principle of cubism, he has gone beyond the rules and regulations, neither needing the theme nor pursuing the sense of depth in three-dimensional vision. Later, he went beyond cubism and drew trees or houses almost entirely with lines. The image traces disappeared, leaving only labyrinthine lines. This is a highly analytical work showing the skeleton. In his article Plastic Arts and Pure Plastic Arts, he said: "I think' pure reality' can only be expressed by pure modeling, and it should not be limited by subjective feelings and appearances in essence ..." Obviously, he is dissatisfied with cubism because it cannot realize' pure reality'. 19 13 years, he began to try colors. The "pure truth" and "pure modeling" emphasized in mondriaan's theory can be said to sum up mondriaan's lifelong pursuit. For him, the simplicity of modeling means the unity of shape and color behavior. He believes that lyrical, depicted or eulogized beauty is a kind of game or escape, and the beauty and harmony it depicts is an ideal of concept. It is out of reach, so it is blocked from life. So, how can we make "pure modeling" achieve "pure reality"? Mondriaan said: "Real and realistic modeling performance should be achieved by balancing internal mechanics. The new plastic arts show that although human life often succumbs to time and disharmony, it is still based on balance. " If we concretize this theory, that is, in plastic arts, we can only express "pure truth" through the dynamic balance of shape and color. 19 17 mondriaan and Otto van Doesburg (1883- 193 1) and Bart van Delecque (1876 ~199). The article Plastic Arts and Pure Plastic Arts marks the establishment of his abstract art theory, because he has repeatedly mentioned that "the first and most basic law of abstract art is artistic balance". His abstract paintings have no curves. The color block on the picture cannot be separated from the right angle. The composition written in 192 1 helps us to understand the essence of his theory. The size of this painting is 6 1*50 cm, and it is now collected in S B Slipe, Kamm, Blary. Mondriaan himself said, "I ruled out curves step by step until I made Pierre mondriaan's work."
The final product is only composed of straight lines and horizontal lines, forming a cross and separating from each other ... Straight lines and horizontal lines are the manifestations of two opposing forces; This balance of opposites is everywhere and controls everything. He seeks the so-called "exterior-interior balance, personality and collective balance, nature and spirit, material and consciousness balance" and so on from the combination of large and small primary color blocks and rectangular right angles. All this is to advocate an extremely abstract spirit, that is, art should be completely divorced from the external form of nature, and should pursue the "absolute realm". Therefore, people have given him a nickname for this abstract painting feature, which is called "cold abstraction" to distinguish it from the artistic features of Kandinsky, another Russian abstract painter of his time. A lot of things in the world are often lost in the corner of the East. mondriaan's "balance" theory is not very exciting in his paintings, but it has been fully exerted in furniture design, decorative art and "international style" architectural design that will soon attract world attention. In fact, under the influence of mondriaan's theory, many architects who are trying to innovate in de stijl have made new explorations. Its significance in the history of modern architecture should not be underestimated. In addition, mondriaan met the Dutch philosopher Schon Meks in 19 16. This man admired the neo-Platonic system in philosophy and called himself "positive mysticism" or "plastic mathematics". Su Shi once explained these two unrelated terms: "From the creator's point of view, plastic mathematics means real orderly thinking;" As for the so-called "creative law" of positive mysticism, we are now studying how to transform our imaginary reality into Pierre mondriaan's works, so that it can be controlled by reason.
In order to rediscover these same structures in the' definite' natural reality, and to gain insight into nature with the help of plastic vision. "Sue's" mathematical modeling "theory, there are many details that mondriaan wanted, so he also admired it. Moreover, Su's theory can almost directly explain mondriaan's modeling structure. It shows that the communication between mondriaan and Su played a decisive role in the artist's later constructivist painting. In the mid-20th century, modern architecture in Western Europe completely got rid of the concept of classical architecture and benefited from mondriaan's balance theory. Since then, he has completely stopped painting what the eyes can see, and limited the painting language to the most basic factors: straight line, right angle, three primary colors (red, yellow and blue) and three non-primary colors (white, gray and black), calling this painting new formalism. Starting from 19 17, he painted a large number of such works with similar themes. The same is true of Composition in Red, Blue and Yellow, which was made in 1930, 5 1 cm square and now belongs to new york's private collection (MrandMrs, ArmandP, Bartos).