Architectural-artistic monograph: a comparison between le corbusier y piet mondrian

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  • Publicado : 20 de noviembre de 2011
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Through art history, many artists, painters, architects, writers, musicians have found inspiration from the past. Each art movement or style responds to an anterior current or thought. Every architectural style is a reaction to the past. The objective of the present paper work is to compare an artwork to an architectural work which share certain ideological aspects in design and analyze how onemight have inspired the other. Le Corbusier and Piet Mondrian were both artists and key figures of Modernism in the 20th century and shared a common ideological because their works are of the same time and period in the history of art.
Modernism in the 20th century was architecture of liberation and freedom: freedom from ill health, or ill-being, and political freedom. Modernism was largelyleft-wing-project; its open plan architecture was free of historic derail and association with autocratic regimes. After World War II, architects provided new forms of escape and liberation; they looked for a way of building that was free of political association or art history.
Piet Mondrian was a Dutch painter born in 1872. He was an important figure to the art movement founded by Theo van Doesburg:De Stijl. He evolved a non-representational form which he termed Neo-Plasticism. His art was constantly interrelated to his philosophical and spiritual studies. Mondrian believed that it was possible to reach knowledge of nature more profound than that provided by empirical means. All his work was inspired by his search for that spiritual knowledge. He was also deeply influenced by cubism in 1911when he moved to Paris and the influence of the style of Picasso and Braque appeared immediately in Mondrian´s work; though he was eager to apply the Cubist influence, he saw Cubism as port of call rather than as a destination. Later he was still attempting to reconcile his painting with his spiritual pursuits, unlike to the Cubists. In 1913 he began to fuse his theosophical and his art into atheory that signaled his final break form representational painting. After founding De Stijl with Theo van Doesburg –which focused toward abstraction- he adopted the term Neo-plasticism. All his paints from this point consisted of white ground, upon which was painted a grid of vertical and horizontal black lines and the three primary colors.
At the end of the War in 1919 Mondrian embrace an artof pure abstraction in an atmosphere of intellectual freedom. He began producing grid-based paintings in late 1919, and in 1920, the style for which he came to be renowned began to appear.
In his first paintings he used the lines delineating the rectangular forms relatively thin and gray, not black. The lines tend to fade as they approach the edge of the canvas rather than stopping abruptly. Theforms were filled with primary color, black or gray, and nearly all of them are colored; only a few were left white. A few years later, Mondrian´s paintings arrived at what was their definitive and mature form. Now thick black lines separated the forms, which are larger and fewer in number, and more of them are left white. This was exactly where Le Corbusier found inspiration for his last work:The Le Corbusier Center, also known as the Heidi Weber Pavilion.
Le Corbusier was a Swiss-French architect, designer and painter born in 1887. He is considered the main figure of the Modernism and the International Style. He initiated in studies of modern high design and was dedicated to provide better living conditions for the people of crowded cities. He constructed all around the world, fromhis adopted France and the rest of Europe to Brazil, India and Japan, and many points east, wets, north, south, and in between. Among his most important work we find the Ville Savoye, the church of Notre Dame du Haut, the Government Buildings in Chandigarh, several Unité d´Habitation in Europe and the Centre Le Corbusier.
He created and used The Modulor I and II, a system for the scale of...
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