Mondrian's Friends - Paris 1919-1938

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More details to follow, but for now we have Marlow Moss, who influenced the Double Line paintings, Amédée Ozenfant, Max Bill, and Jean Gorin, of whom Blotkamp says, 'Mondrian viewed Gorin as his most important follower'. (Blotkamp p 215)

Marlow Moss

See the Marlow Moss page.
Am�d�e Ozenfant

French painter, writer and teacher
In 1918 he met Le Corbusier with whom he founded Purism, but he is more important as a writer and teacher than as a painter. He lived in London, 1935-9, then in New York, 1939-55, founding art schools in both cities. After returning to France he settled in Cannes, where he directed a studio for foreign art students. His Foundations of Modern Art (1931, enlarged edition, 1952) is a study of the interrelationship of all forms of human creativity, including science and religion, and is one of the most widely read books by any modern artist. His Memoires, 1886-1962 was posthumously published in 1968.

From the Oxford Dictionary of Art, link dead.
Nature morte or Composition II, 1929,
oil on canvas
Max Bill
1908 - 1994

Swiss sculptor, painter, architect, industrial designer and art theorist strongly influenced by the ideals of the Bauhaus. From 1951 to 1956 he was rector of the Hochschule für Gestaltung at Ulm, which he also designed. He gave support to Van Doesburg's theory of concrete art in his painting and sculpture, in written work and in the organization of exhibitions such as 'Konkrete Kunst' (1944) at Basel. In Die mathematische Denkweise in der Kunst unserer Zeit (1949) he advocated a new approach to artistic creativity based on mathematical concepts. From The Thames & Hudson Dictionary of Art and Artists, link dead
verdichtung zu caput mortuum, 1972-73
Oil on canvas
Jean Gorin

Albert Jean Gorin was born with Saint-Emilien-at-Blain (Loire-Atlantique) December 2, 1899. His/her parents fix themselves, not far from there, with Nort-on-Erdre, in 1910.

From 1913 to 1922, Jean Gorin attends the School of the Art schools of Nantes. After works with tendency expressionnists, it is influenced by the theories of Gleizes on the cubism. It is following the visit of the House of the New Spirit to the Exposure of Decorative Arts, held in Paris in 1925, that its first purely abstract compositions date.

In 1926, it discovers the Neoplasticism and is deeply upset by it. Its way is definitively traced after having met, in Paris, Mondrian, major figure of the Neoplasticism, and Michel Seuphor (1926-1927). During several years, the tables of Gorin are located very clearly in the wake of the work of Mondrian.

Encouraged by this last, it carries out, in 1930, its first reliefs n�o-plastics. The same year it takes part in the historical exposure of the Cercle group and Square founded by Seuphor and Torres-Garcia, group to which it adheres with enthusiasm.

In 1932, a voyage in the USSR makes him discover works of Malevitch and architecture constructivist then in full creativity. With the outward journey, it meets Gabo and Domela in Berlin. The same year it adheres to the group of geometrical artists Abstraction-Creation, group of which it will become one of the principal organizers.

In 1937, Gorin sells its house of Nort-on-Erdre, destroyed most of sound opens, and settles in V�sinet, close to Paris.

In 1938, it takes part in the significant exposure "Art of Today" to Stedelijk Museum of Amsterdam. Meanwhile, its art was outdistanced of that of Mondrian by the introduction of the relief which develops until becoming a true mural sculpture. The Neoplasticism of Mondrian did not admit that the compositions carried out with vertical and horizontal lines. In his works, Jean Gorin ends up introducing the circle, then the inclined line, while maintaining the rigour horizontal-vertical of the pure neoplasticism. After V�sinet, it will be done successively in Grasse (1947), Nice (1950), Perreux (1956) and, finally, in Meudon (1962). In spite of its participation in many exposures, and since a great number of years, the work of Gorin is finally recognized only after the significant retrospectives of the Museum of the Fine arts of Nantes, in 1965, of Stedelijk Museum of Amsterdam, in 1967, of the National Center of Contemporary art in Paris, in 1969, and those of the museums of Grenoble and Etienne Saint, in 1973.

In 1977, the Museum of the Art schools of Nantes organizes the last retrospective of living of Jean Gorin, deceased in Niort, in 1981.

engagingly translated by Google from a now-dead source.

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Original page 2001, rewritten October 2010