جستجوی مقالات مرتبط با کلیدواژه "neo-plasticism" در نشریات گروه "هنر و معماری"

Although Clive Bell’s aesthetic formalism has had a significant impact on development of later modern art theories in the twentieth century, in the last decades its authenticity has been noticeably declined due to many objections raised against it. In spite of significant contributions of scholars to elucidate and resolve shortcomings and ambiguities of Bell’s theory of significant form, yet the nature of his key conception ‘significant form,’ mutually and circularly defined in terms of another controversial term ‘aesthetic emotion,’ is obscure. In this regard, many vague points in respect to the relationship between aesthetic theory of formalism and modern art can be proposed that need to be addressed. Above all, how Bell’s formalism has been construed and employed by Modern theorists and artists, particularly in case of Piet Mondrian as one of the most prominent formalist and modernist pure abstract painters of the first half of the 20th century? Indeed, this article aims at evaluating the authenticity of this hypothesis that ambiguities of Bell’s theory of formalism will be resolved, though to some extent, by scrutinizing this theory in the light of Mondrian’s theory of Neo-Plasticism; an enriched art theory which is basically shaped by many philosophical doctrines (especially Plato, Hegel, Schopenhauer, and theosophists) and artistic theories (particularly Cubism and De Stijl), artistic movements which they themselves are founded and developed based on tenets of formalism.Therefore, this article aims to further shed light on ambiguities of Bell’s theory of significant form. To this end, it firstly attempts to explain the analogies and disparities between Bell’s theory and Mondrian’s Neo-Plasticism in respect to two key conceptions: significant form and aesthetic emotion, and secondly to further illuminate some of the ambiguities overly discussed by scholars in regard to this polemical theory.The data for this article has been collected by using library research (mainly latest articles and books). However, for the sake of comparison, original and first published version of Bell’s theory of formalism, published in his seminal book titled Art, has been used. Analysis and results have been written by using intertextual approach and a descriptive-analytical method to examine Mondrian’s account on Bell’s key conceptions “aesthetic formalism” and “aesthetic emotion” and the vicious circularity found in their definition.At the end of this article, it becomes evident that there are intimate analogies between Bell’s theory of significant form and Mondrian’s Neo-Plasticism in respect to conceptions of plastic means (formal elements of his art) and equilibrium, or new harmony. It becomes clear that Mondrian in his writings explicitly refers to Bell’s key notions significant form and aesthetic emotion and he defines the former in the light of his Neo-Plastic principles. Moreover, it will be deduced that unlike Bell, Mondrian’s rendition of Bell’s notions significant form and aesthetic emotion is discharged of any circularity. Lastly, the results of this article clarify the formalist roots of Neo-Plasticism, which have been mostly construed in relation to other artistic theories and philosophical doctrines.

Dutch painter Piet Mondrian (1872-1944) is considered as one of the most prominent and influential artists in the history of Modern Art in the first half of the 20th century. He developed and perfected artistic theories of modern abstract artists into its end. His pure abstract style called Neo-Plasticism, proposed after 1919, was the result of his contemplation on many philosophical and artistic theories and concepts as well as his consistent experimentations on canvas in the second decade of the 20th century. Mondrian was not only an influential painter, but also a prolific writer of his artistic theories. Throughout three decades, from 1914 till 1944 (his death), he wrote his Neo-Plastic theories in more than one hundred pieces of writings such as articles, notes, exhibition catalogues, autobiographies, and essays. In his writings, he talked about his theories and principles of Neo-Plasticism in relation to wide ranges of topics such as society, culture, morality, politics, and art. In his belief, the principles of pure abstract style of Neo-Plasticism derived from ancient laws of nature and universe notably a universal equilibrium and unity. Therefore, he considered his artistic theories as social and moral rules for creating a utopian life (earthy paradise) filled with moral values such as brotherhood, unity, equivalence, justice, and peace. In a nutshell, Mondrian believed that his principles of Neo-Plasticism should be implemented in society in order to enhance the moral and physical wellbeing of mankind. In spite of crucial role of Mondrian for perfection of non-representational painting in the history of Modern Art, scholars showed scant attention to the analysis of his Neo-Plastic theory and paintings. In the previous publications, scholars overly examined Mondrian’s art and life through a historical or philosophical lens. Moreover, scholars (especially in Iran) investigated his theory of Neo-Plasticism in relation to other fields, most importantly modern architecture. Lastly, Mondrian’s Neo-Plastic terms and principles have not discussed in relation to his paintings and writings. To fill this gap, in this article, pivotal factors involved in the formation of Piet Mondrian’s Neo-Plastic painting are examined. The main aim of this paper is to explore various philosophical, stylistic, and theoretical factors which they were seminal for the emergence of Neo-Plastic art in the end of the 1910’s. In addition, in this article concepts ‘equilibrium’ (new term for harmony), beauty as pure truth, as well as terms ‘Neo-Plastic’ are elaborated. In this article, a descriptive-analytical approach is used as method of analysis in a way the article is written based on synthesis of viewpoints of scholars and examination of Mondrian’s writings and paintings. At the end of this article, we will realize that the very foundation of Neo-Plasticism is mainly derived from philosophical and theoretical teachings of philosophers and artists on Mondrian. We will see that many of new terms such as ‘equilibrium’, ‘beauty as truth’, as well as term ‘Neo-Plastic’ are indeed derived from teachings of artists and philosophers whose ideas were dominant on Mondrian’s artistic vision in the second decade of the 20th century.