In this groundbreaking book, Harry Cooper, an authority on Mondrian's art, and Ron Spronk, an expert on the technical examination of paintings, investigate the artist's unusual working method during this period. Their collaboration offers an intimate look into the studio of a great modern artist and establishes a new model for the integration of art history, theory, and technical analysis.
The book begins with two essays by Cooper that discuss the critical reception of Mondrian's work, the place of the transatlantic paintings in the evolution of his art, and the particular significance of their dates and titles. Spronk's essay presents technical discoveries based on the authors' original research, reproducing and interpreting many new X-radiographs, photomicrographs, and photographs taken under ultraviolet and infrared light.
The catalogue features such major paintings as Place de la Concorde (1938-43) from the Dallas Museum of Art and No. 12 (1936-42) from the National Gallery of Canada. Each work is discussed in a comprehensive entry accompanied by a dazzling array of illustrations that take the reader under the surface of the painting to reveal ts genesis. This unique approach sheds light on a masterful group of paintings and suggests new avenues for consideration of Mondrian's work as a whole.
|Publisher:||Harvard University Art Museums|
|Product dimensions:||9.00(w) x 11.00(h) x (d)|
Table of Contents
|Lenders to the Exhibition||vi|
|The Surface in Time: Notes on an Aspect of Mondrian's Critical Reception||7|
|Looking into the Transatlantic Paintings||24|
|Revealing Revisions: The Transatlantic Paintings in the Laboratory||67|
|Note to the Reader||108|
|Notes to the Catalogue Entries||244|
|Photography and Imaging Credits||263|