Category: Piet Mondrian

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How to choose a view

Writers are told to write about what they know. What should artists depict?
The Red Truck, by Carol L. Douglas
Yesterday I stopped to sit for a few minutes on a stone wall in Rockport. In my solitude, I noticed the beautiful asymmetry of the house across the street. Its white clapboard and modest door were framed by dark spruces and a dandelion-studded lawn.
Most people zip down this street with no more than a passing glance at the historic homes and the harbor below. Yet there are many quietly memorable moments: a brook burbling over granite, ancient gnarled beeches, sunlight glancing off cedar shakes. The only way to see them is to get out of the car and walk.

“Yes, well, views are very nice, Hastings. But they should be painted for us so that we can study them in the warmth and comfort of our own homes. That is why we pay the artist for exposing himself to these conditions on our behalf.” (Poirot: The Adventure Of The Clapham Cook)

Drying Sails, by Carol L. Douglas.

 â€śHow and why do you choose the views you paint?” a reader asked. The answer depends, in part, on why I’m painting. If I’m in a plein air event or on the road, the views I choose will tend to be more iconic. Here in mid-coast Maine, I have the luxury of intimacy.

Anything can be the subject of a painting. That doesn’t mean content is unimportant. I paint what matters to me: boats, rocks, water, skies, earth and trees. This was never a conscious choice, but the impulse is so strong that it drove me from Western New York to Maine.
Keuka Lake, by Carol L. Douglas
I don’t think you can force this choice. Most artists experiment with subject matter before finding their métier. Piet Mondrian’s windmills and Vincent Van Gogh’s dark peasant studies are two examples.
Composition must drive any painting. In Rochester last week, a student showed me her first design, of a row of peonies marching at a diagonal across her page. I suggested she move 90° to catch the slight S-curve in the row. The difference was staggering.
Castine Lunch Break, by Carol L. Douglas
Closely tied to this is the question of light. Sunlight is the major organizing principle in landscape painting, but we can’t always order it up. In today’s drear, I’m going to suggest to my plein air class that we concentrate on close-ups rather than vistas. The architecture of objects can partly cover for the absence of light.
“There are no lines in nature, only areas of colour, one against another,” Edouard Manet said. The northeast is overwhelmingly cool in color: blue or grey skies against similar seas and green foliage. I look for color patterns within that, particularly those with a flash of warmth: the orange line in the seaweed, the pink of granite, a yellow glint in the sky. After light, color patterns are paramount.
Dinghy, Camden Harbor, by Carol L. Douglas
I also think about meaning. This is old-fashioned, but I don’t see the point of painting if my work says nothing. I hope that my paintings speak about the relationship of man to his environment, about the enduring qualities of the earth, and about simple joy.
Rocks at the American Yacht Club,by Carol L. Douglas.
Addendum: if you’re a landscape photographer, you might be interested in this contest sponsored by Machias Savings Bank.
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Color and meaning (color temperature, part 2)

Composition VII, 1913, by Wassily Kandinsky.

Three artists arrived at the idea of pure abstraction at roughly the same time: Wassily Kandinsky, Piet Mondrian, and Kazimir Malevich. This was not coincidence; all three believed in the spiritual properties of abstraction, an idea they got from the rich stew of spiritualism swirling around turn-of-the-century Europe.

One of the chief promoters of the Fourth Dimension was Pyotr Demianovich Ouspenskii, a follower of G. I. Gurdjieff. Ouspenskii believed our consciousness was evolving, which would ultimately lead us to perceive the fourth dimension, and that art and music were the path to this evolution.  In the fourth dimension, reality and unreality were reversed, and time and motion were revealed as illusions.
Theosophy was Madame Blavatsky’s occult movement. She described it as “the archaic Wisdom-Religion, the esoteric doctrine once known in every ancient country having claims to civilization.” Madame Blavatsky taught that color had spiritual vibrations which would awaken the dormant spirituality within a person, and that art should begin in nature, a nature that would be found in a world-birthing apocalypse.

A fully realized theory must include the proper colors for shapes. The passive and dull circle deserves a correspondingly dull blue. The energetic triangle ought to be rendered in a dangeresqueyellow.
Rudolph Steiner’s spin on theosophy was called Anthroposophy.  This postulated the existence of an objective spiritual world accessible through inner development of the clairvoyance and intuition that modern man had lost as he developed rational thought. Steiner focused on the symbolic and synesthetic properties of color.

And then there are angles, which should be matched in aggression with their colors.
Kandinsky’s Concerning the Spiritual in Art (1912) is both turgid and broad-ranging. Let me just hit his major points about color:
  • Colors evoke both a purely physical effect on the eye and a vibration of the soul or an “inner resonance.”
  • The elements of color are warmth or coolness, and clarity or obscurity. 
  • Warmth means yellow, and coolness means blue, so yellow and blue form the first great contrast. Yellow has an eccentric movement and blue a concentric movement; a yellow surface seems to move closer to us, while a blue surface seems to move away. Yellow is a terrestrial color: mad, disturbed and violent. Blue is a celestial color, deeply calm but sinking toward the mourning of black. The combination of blue and yellow (green) yields total immobility.
  • Clarity is a tendency towards white, and obscurity is a tendency towards black. White and black form the second great contrast, which is static. White is a deep, absolute silence, full of possibility. Black is nothingness, an eternal silence without hope (death). 
  • The mixing of white with black gives gray, which possesses no active force and is similar in tonality to green. Gray is frozen immobility; dark grays tend toward despair, but even lightening gray yields very little hope.
  • Red is a warm color, forceful, lively and agitated. Mixed with black it becomes brown, which is a dull, hard, inhibited color. Mixed with yellow, red gains in warmth and becomes orange, which irradiates and energizes its surroundings. When red is mixed with blue it moves away from man to become morbid and mourning purple. Red and green form the third great contrast, and orange and purple the fourth.
In short, Kandinsky’s color theory is a magnificent exercise in hooey. Still, it has had a long-reaching influence, with overtones in fashion, industrial design, and every other area that touches our lives.

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