The most recognized Piet Mondrian paintings are abstract paintings of colored squares, rectangles and thick black lines. Piet Mondrian was a famous abstract painter, born in the Netherlands in 1872. Piet did not start out painting squares and rectangles. He only started so during the tail end of the Impressionism movement.
The first Piet Mondrian paintings were consistent with the time period, taking a cue from the Post Impressionistic works of Van Gogh. Piet also took inspirations from Braque and Picasso, although he subsequently formed a very distinct style, all his own. There are several instances of a definite Post-impressionist and emotive use of color in his early paintings.
Through the provision of aesthetic beauty and breaking away from a representational form of painting, Piet Mondrian paintings were aimed at helping humanity. Starting as representational paintings, Piet Mondrian paintings evolved first into cubism, then into pure abstraction and non-representation. Eventually, the post-WWI war atmosphere of Paris allowed them to develop pure creative freedom.
The first truly original work among the Francis Bacon paintings was the Crucifixion, a small spectral painting clearly indebted to the biomorphs of Picasso. In 1944, Francis Bacon riveted the attention of both public and critics with his Three Studies for Figures at the Base of a Crucifixion. With its hot orange background and stone-colored monsters of vaguely human descent, the painting left a lasting and disquieting impression on its viewers.
Included among Francis Bacon paintings is an assemblage of meat carcasses and a mutilated, almost headless man beneath an umbrella. By 1948, Francis developed the technique of painting on the wrong side of the canvas or the unprimed side. He found the technique precisely attuned to his temperament that he continued its use till the end of his life.
There are a number of Francis Bacon paintings that stood apart in exhibitions. A prime example would be Head VI, a 1949 creation. Featuring a sensuous purple cape, it was actually a variation on Velazquez's Portrait of Pope Innocent X. With obsessive integrity, Francis mined the theme throughout the succeeding decade. This dependency on other artists' work was expressed in the form of reproductions. Rather than limiting Francis, it actually encouraged him to take on extravagant licensing in his art.
The first Piet Mondrian paintings were consistent with the time period, taking a cue from the Post Impressionistic works of Van Gogh. Piet also took inspirations from Braque and Picasso, although he subsequently formed a very distinct style, all his own. There are several instances of a definite Post-impressionist and emotive use of color in his early paintings.
Through the provision of aesthetic beauty and breaking away from a representational form of painting, Piet Mondrian paintings were aimed at helping humanity. Starting as representational paintings, Piet Mondrian paintings evolved first into cubism, then into pure abstraction and non-representation. Eventually, the post-WWI war atmosphere of Paris allowed them to develop pure creative freedom.
The first truly original work among the Francis Bacon paintings was the Crucifixion, a small spectral painting clearly indebted to the biomorphs of Picasso. In 1944, Francis Bacon riveted the attention of both public and critics with his Three Studies for Figures at the Base of a Crucifixion. With its hot orange background and stone-colored monsters of vaguely human descent, the painting left a lasting and disquieting impression on its viewers.
Included among Francis Bacon paintings is an assemblage of meat carcasses and a mutilated, almost headless man beneath an umbrella. By 1948, Francis developed the technique of painting on the wrong side of the canvas or the unprimed side. He found the technique precisely attuned to his temperament that he continued its use till the end of his life.
There are a number of Francis Bacon paintings that stood apart in exhibitions. A prime example would be Head VI, a 1949 creation. Featuring a sensuous purple cape, it was actually a variation on Velazquez's Portrait of Pope Innocent X. With obsessive integrity, Francis mined the theme throughout the succeeding decade. This dependency on other artists' work was expressed in the form of reproductions. Rather than limiting Francis, it actually encouraged him to take on extravagant licensing in his art.
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