Description
In the work "Go to fish" (1900) by Piet Mondrian, an interesting and subtle dialogue between the naturalistic representation and the incipient interest of the artist for the abstraction that would later characterize it is unfolded. This painting, which is part of its initial period, reveals the influence of the symbolism of which Mondrian had fed, as well as the traditions of the Dutch landscape and the lights of light and color that this entails.
The composition of the work reflects a quiet scene next to the water, where we can observe a fisherman in full action. The individual is at the edge of a river or lake, immersed in the fishing activity, which suggests a moment of contemplation and connection with nature. The figure of the fisherman, although it is a central element, is not imposed on the landscape, but is integrated into it, almost as an extension of nature itself. This is a characteristic of the Mondrian approach at this stage, where the human figure tends to be a support for the expression of the harmony of the environment.
The use of color in "going to fish" is remarkably subtle. Mondrian uses a palette that is based on soft and natural tones, predominantly the green and blue, which evoke water and surrounding vegetation. The light and almost transparent application of the paint allows the light to interact with the different elements, creating an atmosphere of serenity. This color treatment demonstrates a search for balance between shapes and tones, a principle that will be fundamental in its evolution towards neoplasticism.
The work, despite being representative of a more naturalistic style, already hints at some of the principles that Mondrian will explore later, such as the simplification of the form and search for a balanced composition. Although the use of straight lines and more geometric compositions will become their personal seal, "go fishing" shows the first steps towards the visual simplification that they would grow so much in their posterior career.
An aspect that is often relegated in the analysis of this work is the relationship between the artist and nature, which translates into a deep respect for the environment. This piece suggests that Mondrian was not only interested in exploring new forms of painting, but also in finding a sense of peace and balance in his natural environment. In this sense, "going to fish" can be understood as a manifesto of its earliest influences, where the search for art as a means of connection with the world was so extremely relevant.
The importance of "going to fish" in Mondrian's trajectory lies not only in his aesthetic and technical quality, but also in his role as a catalyst for the ideas that would eventually lead the artist to develop his characteristic style of primary lines and colors. It is a reminder of the artist's evolutionary trip, which can be seen how nature and daily life become the core of its artistic exploration. Although this work is not as known as its subsequent abstract works, its relevance lies in its ability to capture that turning point between the tangible and the abstract, an issue that would remain in the center of Mondrian's work throughout his career .
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