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Mondrian's Friends
- Paris 1919-1938
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)
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Marlow Moss
1890 - 1958
Marlow Moss page |
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Amédée
Ozenfant 1886 - 1966
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.
Oxford
Dictionary of Art |
Mural, 1926
oil on canvas
Nombreux objets, 1927
oil on canvas
Nature morte or Composition II, 1929
oil on canvas
source
artnet |
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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.
The
Thames & Hudson Dictionary of Art and Artists |
Max Bill
verdichtung zu caput mortuum
1972 / 73
Oil on canvas; 100 x 100 cm, diagonal 141 cm
source |
picture source |
Jean Gorin
1899-1981
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 néo-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 Vésinet, 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
Vésinet, 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.
translated by Google from
here.
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