配色-晚上的红树Avond (Evening): The Red Tree

作者：Pierre Mondrian Piet Cornelies Mondrian

作品名称：Avond (Evening): The Red Tree

中文名称：晚上的红树

创作时间：1908 年

画作尺寸：70 x 99 cm

绘画类型：布面油画

流派：印象派

题材：风景画

收藏于：Gemeentemuseum den Haag, Hague, Netherlands

"Mangroves at Night" is one of the most important works on the subject of trees in Mondrian's series, completed in the same year as "Windmills in the Sun". In its range of colors and brushstrokes, especially in its concept of nature, it shows many points of contact with other images. Here, too, there seems to be a clear influence of Vincent van Gogh's paintings. The painting is reminiscent of certain of Vincent's images of trees, especially olive and cypress trees, in which the simplification of brushstrokes and colors plays an important role. But quoting these paintings alone is not enough to explain the origin and character of "Mangroves at Night".

We already know a great deal about the history of this oil painting. There are several sketches and studies that make it possible for the painting to have a place in Mondrian's evolution. The radical simplification of the range of colors and the tendency towards non-naturalistic colors, more obvious and decisive than his previous paintings, are the most striking features of the canvas, confirming the emphasis on color that Mondrian had been concerned with in 1908. In that year, his vision was opened to international art, and color was his primary concern and the most important new factor. Here he rebelled against tonism and collected his entire experience into the harmony of blue and red, which shows that for the first time he became an independent discoverer, an artist capable of developing his own style.

But this personal, personal style is not only marked by a new acquisition of color. In terms of form, the scope of "Mangrove at Night" goes far beyond one's initial impression of nature. By contrast with previous studies, it is evident that Mondrian interprets his impression of reality in this painting and transforms it into an idiom of his own: All the details of the appearance of the trees, which in essence give a spatial effect, are straightened on the painted surface, making the linear structure of the brushstrokes produce an almost completely flat impression. The spatial dimension of depth is suggested by color, by what Van Gogh considered an infinitely deep blue. The use of this color, this intense, spatially suggestive contrast of red (near) and blue (receding), is not merely descriptive. In this painting, Mondrian wanted to establish his holistic view of nature, and his credo of the world: that despite the intense movement of the trees, the calm of the whole picture is a balance - a balance that Mondrian wanted to overcome the tragedy of fact.