He was greatly interested in the РІР‚ВnewРІР‚в„ў: the Charleston, jazz music, cinema. To Mondrian, this was where truly modern life was lived. Paris was the centre of the art world, where many international artists lived. Even though he began his career as a landscape painter, after his move to Paris he fully embraced urban life. During World War I, he mostly spent his time in Domburg and Laren, towns home to communities of the artistic and free-spirited. Mondrian escaped from such emerging societal structures, a move also demonstrated by his radical departure from the neoclassical style taught at the academy. Protestants, Catholics, labourers: each pillar eventually had its own schools, sports and culture associations, newspapers, and so on. Social structures would become organized by religious affiliation or worldview. In his years in the Netherlands, Dutch society showed the first signs of РІР‚ВpillarizationРІР‚в„ў. Mondrian was buried at Cypress Hills Cemetery in Brooklyn.Р”Вuring MondrianРІР‚в„ўs lifetime, major social and political transformations took place. On 1 February 1944, he passed away, leaving his final, unfinished painting, Victory Boogie Woogie, behind in his studio. After spending two years in London, he fled to New York in the autumn of 1940. In 1938, he fled Paris due to the emerging threat of war. Spending World War I in the neutral territory of the Netherlands, Mondrian reached the fully abstract style that he continued to work on back in Paris from 1919 onward. He omitted one РІР‚ВaРІР‚в„ў from his last name, making it more accessible for international clientele, but also marking a departure from the umbrella of his father and uncle, who no longer artistically supported him.

His artistic aspirations led him, by then nearly forty years old, to Paris in early 1912. Over the years, Mondrian established a reputation as landscape painter and was involved in modern art initiatives. Mondrian also became interested in esotericism and in May 1909 registered as a member of the Theosophical Society, in which he remained for the rest of his life. Once there, he registered with the Reformed Church, seemingly a formality that provided him with connections and commissions. In 1892 Mondrian obtained two art teaching degrees, after which he applied and was admitted to the Amsterdam Art Academy. When he was aged eight, the family moved to the village of Winterswijk, in the east of the Netherlands. At one month old, Mondrian was baptized in St Joris Church. Pieter Cornelis Mondriaan was born on 7 March 1872 into a Calvinist family in Amersfoort, in the Netherlands, then a city of some thirteen thousand inhabitants of various religious affiliations. This entry builds on the observations that modernist visions of a new world coming can be valuably understood through the lens of apocalypticism and that the study of modern art can inform that of apocalypticism, and vice versa. Mondrian employed the notion of destruction in his search for a spiritually elevated art. And De Stijl sought solutions on a project-by-project basis. Futurists called for the destruction of archives, libraries, and museums in order to make way for the future. Bauhaus aimed to reach this goal through educating students at an academy. Despite such a common goal, the routes towards it were conceived differently. Architecture, painting, sculpture, design, fashion: all would become elements in an integrated whole. All envisioned holistic approaches to art, which would diminish boundaries between disciplines. Other prominent movements operating from such a premise were Futurism (Italy, 1909), Dadaism (Switzerland, 1916), De Stijl (Netherlands, 1917), and Bauhaus (Germany, 1919). There is an artistic tension all over EuropeРІР‚в„ў (quoted in Lankheit 1974, 252). We stand before the new pictures as in a dream, and we hear the apocalyptic horsemen in the air. In 1912, Franz Marc (1880РІР‚вЂњ1916) famously introduced the movement known as Der Blaue Reiter as a sign of turbulent times: РІР‚ВToday art is moving in a direction of which our fathers would never even have dreamed. Manifestoes outlined the aims and rules of the new movements. In this new world, spirituality was prominent and directly addressed through art-which, in turn, was built upon reasoning about destruction. Rather than religious concerns with an afterlife or heaven, this discourse conveyed an urgency for a renewed version of the earthly world. Such visions contained key features associated with apocalyptic discourse. This period is characterized by a plethora of artistic movements, each proclaiming radically new art for a new world. Piet Mondrian (1872РІР‚вЂњ1944) was a key modern artist in the first half of the twentieth century.

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