'Mondrian Evolution' is the product of a multi-year effort.
Mondrian “made marks at the edges, then very slowly painted these lines. They look precise but they are based on intuition,” said Ulf Kuster, who organized the exhibition. For the Dutch artist, painting was a “long process of looking, of composing, of erasing,” the curator explained.
“I really learned that [Mondrian] was a painter who was always in control of what he did,” the curator said of his experience working on the show. “I didn’t realize how painstaking this process of painting must’ve been for him and how thoughtful he looked at things and how much he reflected on painting.”
It also doubles as a description of what viewers can expect at the Beyeler: a tip-to-toe survey of Mondrian’s career, beginning with his younger efforts in portraiture and landscape. “He was looking for harmony, but harmony is never symmetry,” Kuster said. “Harmony has to have tension over time.”With exposure to painters like Picasso and, and a multi-year stint in Paris, abstraction began to suffuse Mondrian’s canvases around 1911. His once-representational scenes of Dutch waterways dissolved into Cubist abstractions that,Within the next decade, he returned to the Netherlands, then went back to Paris.
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