1. 2011 Calendar
Artist MONDRIAN

2. SUJIN
Designed by
SOOKMYUNGWOMEN’ UNIVERSITY
S

3. 2011 Calendar
JAN FEB MAR APR
S M T W T F S S M T W T F S S M T W T F S S M T W T F S
1 1 2 3 4 5 1 2 1 2 3 4 5 6 7
2 3 4 5 6 7 8 6 7 8 9 10 11 12 3 4 5 6 7 8 9 8 9 10 11 12 13 14
9 10 11 12 13 14 15 13 14 15 16 17 18 19 10 11 12 13 14 15 16 15 16 17 18 19 20 21
16 17 18 19 20 21 22 20 21 22 23 24 25 26 17 18 19 20 21 22 23 22 23 24 25 26 27 28
23 24 25 26 27 28 29 27 28 24 25 26 27 28 29 30 29 30 31
30 31
MAY JUN JUL AUG
S M T W T F S S M T W T F S S M T W T F S S M T W T F S
1 2 3 4 5 6 7 1 2 3 4 5 6 1 2 1 2 3 4 5 6
8 9 10 11 12 13 14 7 8 9 10 11 12 13 3 4 5 6 7 8 9 7 8 9 10 11 12 13
15 16 17 18 19 20 21 14 15 16 17 18 19 20 10 11 12 13 14 15 16 14 15 16 17 18 19 20
22 23 24 25 26 27 28 21 22 23 24 25 26 27 17 18 19 20 21 22 23 21 22 23 24 25 26 27
29 30 31 28 29 30 31 24 25 26 27 28 29 30 28 29 30 31
31
SEP OCT NOV DEC
S M T W T F S S M T W T F S S M T W T F S S M T W T F S
1 1 2 3 4 5 1 2 3 1 2 3
2 3 4 5 6 7 8 6 7 8 9 10 11 12 4 5 6 7 8 9 10 4 5 6 7 8 9 10
9 10 11 12 13 14 15 13 14 15 16 17 18 19 11 12 13 14 15 16 17 11 12 13 14 15 16 17
16 17 18 19 20 21 22 20 21 22 23 24 25 26 18 19 20 21 22 23 24 18 19 20 21 22 23 24
23 24 25 26 27 28 29 27 28 29 30 25 26 27 28 29 30 31 25 26 27 28 29 30 31
30 31

4. S M T W T
2011
F
1 January
S
1
2 3 4 5 6 7 8
9 10 11 12 13 14 15
16 17 18 19 20 21 22
23 24 25 26 27 28 29
30 31

5. ABOUT _MONDRIAN
Piet Mondrian (1872 ~ 1944) | Dutch Painter
Mondrian
He was an important contributor to the De Stijl art movement and group, which was
founded by Theo van Doesburg. He evolved a non-representational form which he
termed Neo-Plasticism. This consisted of white ground, upon which was painted a
grid of vertical and horizontal black lines and the three primary colors.
1
2011 / JAN
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

6. S M T W T
2011
F
2 Febrary
S
1 2 3 4 5
6 7 8 9 10 11 12
13 14 15 16 17 18 19
20 21 22 23 24 25 26
27 28

7. PARIS _C U B IS T
Tableay no.1 (1913) Still Life with Gingerpot 2 (1912)
1912~ 1914
His various studies of trees from that year still contain a measure of representa-
tion, but increasingly, they are dominated by the geometric shapes and interlocking
planes commonly found in Cubism. While Mondrian was eager to absorb the Cubist
influence into his work,
2
2011 / FEB
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28

8. S M T W T
2011
F
3 March
S
1 2 3 4 5
6 7 8 9 10 11 12
13 14 15 16 17 18 19
20 21 22 23 24 25 26
27 28 29 30 31

9. HOLLAND _L A T E C U B IS T
Composite (1918) Pier and ocean 4 (1914)
1914 the late cubist phase
Unlike the Cubists, Mondrian still attempted to reconcile his painting with his spiri-
tual pursuits, and in 1913, he began to fuse his art and his theosophical studies into
a theory that signaled his final break from representational painting. He increasingly
emphasises the straigth and the horizontal- vertical.
3
2011 / MAR
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

10. S M T W T
2011
F
4 April
S
1 2
3 4 5 6 7 8 9
10 11 12 13 14 15 16
17 18 19 20 21 22 23
24 25 26 27 28 29 30

11. HOLLAND _EARLY NEOPLASTICISM
Composition in line (1916) Composition in kleur B (1917)
1917 the early neoplasticism
The first number of de stijl appears in October. The neo-plastic phase:composition in
Line, begun in 1916 in the “plus-minus” manner, and completed in early 1917 in the
new manner, can be regarded as the first work of the neoplasticism. This is the year
in which Mondrian created his first geometric compositions in rectangular planes.
Mondrian also calls his work Abstract-Real Art at this time.
4
2011 / APR
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

12. S M T W T
2011
F
5 May
S
1 2 3 4 5 6 7
8 9 10 11 12 13 14
15 16 17 18 19 20 21
22 23 24 25 26 27 28
29 30 31

13. HOLLAND-PARIS _EARLY NEOPLASTICISM
Composition in line (1916) Composition in kleur B (1917)
1920 the early classic phase
In the early paintings of this style the lines delineating the rectangular forms are rela-
tively thin, and they are gray, not black. The lines also tend to fade as they approach
the edge of the painting, rather than stopping abruptly. The forms themselves, smaller
and more numerous than in later paintings, are filled with primary colors, black, or
gray, and nearly all of them are colored; only a few are left white.
5
2011 / MAY
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

14. S M T W T
2011
F
6 June
S
1 2 3 4
5 6 7 8 9 10 11
12 13 14 15 16 17 18
19 20 21 22 23 24 25
26 27 28 29 30

15. PARIS _EARLY CLASSIC NEOPLASTICISM
Composition B (1920) Composition with yellow, red, black, blue, and gray (1920)
1920 the early classic phase
During late 1920 and 1921, Mondrian’s paintings arrive at what is their definitive
and mature form to casual observers. Thick black lines now separate the forms,
which are larger and fewer in number, and more of them are left white than was
previously the case.
6
2011 / JUN
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

16. S M T W T
2011
F
7 July
S
1 2
3 4 5 6 7 8 9
10 11 12 13 14 15 16
17 18 19 20 21 22 23
24 25 26 27 28 29 30
31

17. PARIS _CLASSIC NEOPLASTICISM
Tableau, with yellow, black, blue, red, and Composition no.5 (1930)
gray (1923)
1923~ 1944 the classic neoplasticism
Marks the period of classic neoplasticism. Mondrian wanted the infinite, and shape
is finite. A straight line is infinitely extendable, and the open-ended space between
two parallel straight lines is infinitely extendable. A Mondrian abstract is the most
compact imaginable pictorial harmony, the most self-sufficient of painted surfaces.
7
2011 / JUL
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

18. S M T W T
2011
F
8 August
S
1 2 3 4 5 6
7 8 9 10 11 12 13
14 15 16 17 18 19 20
21 22 23 24 25 26 27
28 29 30 31

19. PARIS _NEOPLASTICISM
Composition de lignes et color (1937) Composition of red and white (1938) Composition A, with double line and
yellow. (1935)
1932 neoplasticism
Many of the black lines stop short at a seemingly arbitrary distance from the edge of
the canvas, although the divisions between the rectangular forms remain intact. he
rectangular forms remain mostly colored. As the years passed and Mondrian’s work
evolved further, he began extending all of the lines to the edges of the canvas and he
also began to use fewer and fewer colored forms, favoring white instead.
8
2011 / AUG
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

20. S M T W
2011
T
9
F
September
S
1 2 3
4 5 6 7 8 9 10
11 12 13 14 15 16 17
18 19 20 21 22 23 24
25 26 27 28 29 30

21. LONDON-NYC _NEOPLASTICISM
Composition_unfinished (1938)
1938~1943 neoplasticism
In some examples of this new direction, such as Composition (1938), he appears
to have taken unfinished black-line paintings by adding short perpendicular lines
of different colors, running between the longer black lines, or from a black line to
the edge of the canvas. The newly-colored areas are thick, almost bridging the gap
between lines and forms.
9
2011 / SEP
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

22. S M T W
2011
T
10F
October
S
1
2 3 4 5 6 7 8
9 10 11 12 13 14 15
16 17 18 19 20 21 22
23 24 25 26 27 28 29
30 31

23. NEW YORK _NEOPLASTICISM
New York (1940~1941)
1940 neoplasticism
Arriving in New York on October 3. Soon after his arrival. Mondrian becomes a
member of the American Abstract Artists group. In New York Mondrian first works
on canvases brought with him from Europe. Enhancing them with small palnes of
primary colors unbounded by black. Bands of color that cross the entire format ap-
pear in his first painting initiated in America titled : New York, 1941~ 1942.
10
2011 / OCT
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

24. S M T W
2011
T
11
F
November
S
1 2 3 4 5
6 7 8 9 10 11 12
13 14 15 16 17 18 19
20 21 22 23 24 25 26
27 28 29 30

25. NEW YORK _NEOPLASTICISM
New York City 1_unfinished (1941)
1941~1942 neoplasticism
Mondrian’s first on man show at the valintine Dudensing’s gallery (January~February).
Of a series developed in colored paper tape(without black bands). with only one
version(New York City 1)completed in paint. The availability of colored tape. en-
courages Mondrian abandonment of the black lines found in his earlier neo-plastic
paintings in favor of criss-crossing and overlapping colored bands.
11
2011 / NOV
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

26. S M T W
2011
T
12
F
December
S
1 2 3
4 5 6 7 8 9 10
11 12 13 14 15 16 17
18 19 20 21 22 23 24
25 26 27 28 29 30 31

27. NEW YORK _NEOPLASTICISM
Broadway boogie woogie (1942~ 1943)
1943 neoplasticism
His painting Broadway Boogie-Woogie (1942~1943) at The Museum of Modern
Art in Manhattan was highly influential in the school of abstract geometric painting.
The piece is made up of a number of shimmering squares of bright color that leap
from the canvas, then appear to shimmer, drawing the viewer into those neon lights.
In this painting and the unfinished Victory Boogie Woogie (1942~1944),
12
2011 / DEC
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31