![PIET MONDRIAN Small farm buildings in Het Gooi. Circa 1898. Ansicht 1](/CatCache/catcache.2/pictures/498390/498390_fm_1.jpg)
Lot 3203 - A203 Impressionist & Modern Art - Friday, 02. December 2022, 04.30 PM
PIET MONDRIAN
(Amersfoort 1872–1944 New York)
Small farm buildings in Het Gooi. Circa 1898.
Oil on paper on board.
Signed lower right: Piet Mondrian.
32.3 × 39.7 cm.
This work is listed in the RKD, The Hague.
Provenance:
- Galerie Monet, J. P. Smid, Amsterdam, 1983–86.
- Auction Sotheby's, Amsterdam, 15.11.1983, lot 210.
- Swiss private collection, propaply acquired at the above auction and by descent from the great oncle to the present owner.
Literature:
- Evelien de Visser and Wietse Coppes: Piet Mondrian: Catalogue raisonné, 2018, online catalogue of works, no. A169 (with ill.).
- Joop Joosten und Robert P. Welsh: Piet Mondrian: Catalogue raisonné, 1. Catalogue raisonné of the naturalistic works (until early 1911), Paris 1998, p. 222, no. A168.
A painting by Piet Mondrian is immediately recognisable: black grids on a white ground interspersed with red, blue and yellow rectangles and squares. The abstract constructions are unmistakable — indeed, they write art history. One might hardly suspect that Mondrian's path to Neoplasticism first began with depictions rendered in earth tones in an impressionistic style.
As an autodidact, he concentrated his early work from around 1900 primarily on landscape painting, a genre that took on special significance in the Netherlands during the Hague School period. Such is the case in the present work, in which dynamic, impasto brushwork reveals a farmhouse nestled in a landscape of woods and meadows amidst an approaching storm. Always in search of the truth of nature, Mondrian’s artistic experimentations gradually led him towards complete non-objectivity, in which his depictions of trees, branches and windmills lost their solid forms and culminated in complete abstraction.
This evolution in Piet Mondrian's œuvre underscores the multifaceted artistic talent of the Dutch artist, who undertook drastic stylistic changes in the course of his career and laid the foundation for modern abstract art.
Provenance:
- Galerie Monet, J. P. Smid, Amsterdam, 1983–86.
- Auction Sotheby's, Amsterdam, 15.11.1983, lot 210.
- Swiss private collection, propaply acquired at the above auction and by descent from the great oncle to the present owner.
Literature:
- Evelien de Visser and Wietse Coppes: Piet Mondrian: Catalogue raisonné, 2018, online catalogue of works, no. A169 (with ill.).
- Joop Joosten und Robert P. Welsh: Piet Mondrian: Catalogue raisonné, 1. Catalogue raisonné of the naturalistic works (until early 1911), Paris 1998, p. 222, no. A168.
A painting by Piet Mondrian is immediately recognisable: black grids on a white ground interspersed with red, blue and yellow rectangles and squares. The abstract constructions are unmistakable — indeed, they write art history. One might hardly suspect that Mondrian's path to Neoplasticism first began with depictions rendered in earth tones in an impressionistic style.
As an autodidact, he concentrated his early work from around 1900 primarily on landscape painting, a genre that took on special significance in the Netherlands during the Hague School period. Such is the case in the present work, in which dynamic, impasto brushwork reveals a farmhouse nestled in a landscape of woods and meadows amidst an approaching storm. Always in search of the truth of nature, Mondrian’s artistic experimentations gradually led him towards complete non-objectivity, in which his depictions of trees, branches and windmills lost their solid forms and culminated in complete abstraction.
This evolution in Piet Mondrian's œuvre underscores the multifaceted artistic talent of the Dutch artist, who undertook drastic stylistic changes in the course of his career and laid the foundation for modern abstract art.
CHF 40 000 / 60 000 | (€ 41 240 / 61 860)
Sold for CHF 44 220 (including buyer’s premium)
All information is subject to change.