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Paintings Of Piet Mondrian And Francis Bacon

Marking the transition from the Hague school and Symbolism to Neo-Impressionism and Cubism at the start of the 20th century are the Piet Mondrian paintings. Composed of the most fundamental aspects of line and color, they represented the universal and dynamic pulse of life.

A unique style, termed neo-plasticism by Piet himself was the design for Piet Mondrian paintings. This style was not based on outside artistic influences or typical techniques, rather, it is an interpretation of deeply felt philosophical beliefs of theosophy and anthroposophy. Theosophy is a religious mysticism which sought to help humanity achieve perfection. Anthroposophy, on the other hand, held the notion that the spiritual world was directly accessible through the development of the inner self.

Piet Mondrian paintings gradually began to simplify and abstract the colors and shapes of their subject matter, as Piet explored nature his own way. This process of simplification and reduction eventually became evident even in his paintings not related to nature in any way.

Among Francis Bacon paintings, Crucifixion proved to be the first truly original work, although it was clearly indebted to the biomorphs of Picasso. This small spectral painting was followed by the successful Three Studies for Figures at the Base of a Crucifixion in 1944. A painting that riveted the attention of both public and critics, it left a lasting and disquieting impression on its viewers, with its hot orange background and stone-colored monsters of vaguely human descent.

Francis Bacon paintings turned traditional paintings of people inside out, with grotesquely distorted faces and twisted body parts. Some of the most famous of these paintings were inspirations from the old master artworks, including Head VI, based on the Portrait of Pope Innocent X by the Spanish artist, Diego Velazquez.

Created in 1949, Head VI was one of the Francis Bacon paintings that stood apart in exhibitions, with its sensuous purple cape. It was a variation on Velazquez's Portrait of Pope Innocent X, a theme exploited by Francis with obsessive intensity throughout the following decade. This dependency was manifested though the use of reproductions, which had the positive effect of encouraging Francis to take an extravagant license to his art.

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