Zugl.: Tübingen, Univ., Habil.-Schr., 1998

One of the most decisive careers in the history of twentieth-century painting is that of Piet Mondrian. Not only did he singularly commit himself to the development of non-figurative art and take this development further than any contemporary, but he also was able to formulate an articulate theoretical program upon which his aesthetic decisions were founded. The neo-plastic art by which Mondrian is best known, executed between 1920 and his death in 1944, is only the climax of a long development which began with his break away from a regional landscape painting about 1908, and crystalized in the formulation of his neoplastic aesthetic between 1914 and 1920. This essay will trace this development in an effort to reconstruct the impulses, the decisions, and the resolutions which led to the birth of a pure non-figurative painting. The impulse of this evolution is rooted in Mondrian's personal, obsessive search for the unity of a philosophical and formal ideal. About 1908, he felt the need to express a philosophic ideal, or a ‘content' which was incompatable with his early regional style. This led him to move at first hesitantly, then with complete freedom, into contemporary developments in abstraction in the search for a form which would satisfy the demands of a content. As he expanded upon the formal innovations of cubism from 1911 to 1914, he began to realize a totally unique mode of picture-building which would not 'express' the content but 'be' the content:- not only the physical embodiment, but also the creative function of the philosophic ideal. This ideal began with Theosophy, but married to his art, it became neo-plasticism. This evolution of form, which this essay will concentrate upon, was achieved essentially through the development within the medium of painting itself, and through the recognition of the absolutely essential, non-arbitrary, non-metaphorical components of a painting. The 'content' becomes implicit through the concentrated but intuitive ordering of these components according to both the plastic laws of the universe and the plastic laws of the medium itself. Despite the theoretical and philosophical inclinations shown in his abundant writings, he was above all a painter, and his most immediate concern was always to come to terms with the means of expression. When his painting began to take upon an abstraction that could almost be considered as being non-art, his theorizing took on a greater importance as a philosophical substantiation for an unfamiliar non-figurative image. His neo-plastic philosophy, fully articulated by 1920, recognized above all the plastic laws of painting, and thus the non-figurative image, but it also kept within this formal exingency that ideal residing outside and beyond art which has guided artists throughout history:- the recognition of the universal laws of creation. The uncompromising nature that led Mondrian to a perfected art, an ultimate and complete synthesis of form and content, forced him to eliminate the most sanctified traditions of art. But rather than destroy art, he gave it a new life. He revealed an arena of expression that had never been apparent or possible to artists of any previous age, and which is the heritage of contemporary art today. Within the context of this essay, a study in the evolution of form, it might seem irrelevant to comment upon matters of taste, something which Mondrian himself considered irrelevant to his immediate aims, but now that his accomplishment and his theoretical assumptions are taken for granted, it is mandatory that the quality of his work not be overlooked. He will be remembered in the future not so much for the fact that he was a pioneer of non-figurative art, something ultimately important only for his own generation, but rather for the power of beauty he evoked within an imagery that claims nothing more than an absolutely exclusive perfection, a sensibility rare in any period of art history and which he shares in this century with Giorgio Morandi, Barnett Newman and Ad Reinhardt. Not all of his work is successful. Mondrian was at his best when he worked in depth with a preordained, self-effacing system, not when he was working with forms that demanded a capricious sense of invention. He was a penetrator, not an expander; his sense of form was analytical, not synthetic. When he strayed away from an art that expressed his innate sensibility for form into an area where form is sacrificed for the idea, such as happened in his 'stylist' period of 1911, his work was considerably weakened. Also less successful are his earliest cubist pictures, awkward in the new style, and the 'plus-minus' pictures of 1914-1915, which attempt an expression of space which cubism could never handle. The majority of his works, however, are unqualified masterpieces, and one feels the temptation to view him as a twentieth-century Vermeer. This leads one to sense that the spiritual power that lurks within the constructive obviousness of Mondrian's art, lurks, with equal strength, within the prosaic realism of Vermeer's art. Both artists are concerned ultimately with a sense of order which finds its metaphysical source in the physical world, and both communicate this sense of order through an expression of tensions of space. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Texte remanié de: Diss.--Saarbrücken, 2001. / Bibliogr. p. 389-415. Notes bibliogr.

Thesis (Ph. D.)--Ohio University, June, 2003. / Title from PDF t.p. Includes bibliographical references (leaves 280-306).

The aim of this project is to create tool for OLAP analysis over operational data of BUT libraries. This OLAP tool answers ie. query how long were users having loaned books. These queries could be specified by time period (year, month), library (ie. FIT library) and other dimensions. Only some, for this application interesting, tables from source database are used. Tables were exported into text files in csv format. According to project specification, system for OLAP analysis should be open source. Tool Mondrian accomplishes this requirement and was  used in this work. Data warehouse is represented by relational database MySQL. ETL tool feeds data warehouse by data from exported files. User interface is used from internet browser and is implemented by component JPivot. Query results are displayed in tables and graphs.

Made available in DSpace on 2016-03-15T19:43:32Z (GMT). No. of bitstreams: 1 Dirceu Zaleski Filho.pdf: 3237887 bytes, checksum: d2740ebb432c3e085b1f57d05ed98614 (MD5) Previous issue date: 2009-08-07 / Fundo Mackenzie de Pesquisa / EL ARTE Y LAS MATEMÁTICAS EN MONDRIAN Esta tesis investigó el acercamiento de las matemáticas en el arte y en la obra del pintor Piet Mondrian (1872-1944) y como la labor del artista contribuye a la enseñanza y el aprendizaje de las matemáticas y la creación de Visual Matemáticas. Se realizó el trabajo de revisar la historia, las razones de las diferencias entre estos enfoques y áreas de conocimiento y el reconocimiento de la importancia de las áreas socioculturales. Se investigó la influencia de estos factores en el proceso de enseñanza y el aprendizaje de las matemáticas y el arte y viceversa. A continuación, se realizó un estudio sobre la trayectoria del artista que muestra cómo y por qué ocurrió este enfoque en su trabajo. A continuación, se realizaron estudios relacionados con el Brasil sobre el proceso de industrialización y desarrollo de la educación, la historia de las matemáticas, la matemática escolar, la enseñanza del arte. También presentó un informe de experiencias por el autor de este ensayo - como profesor de matemática y geométrica de Diseño - sobre la base de estudios anteriores, determinar las razones por las que la enseñanza de las matemáticas y el arte en la escuela estaban tan comprometidos en la historia de la educación brasileña. Estos hechos también condujo a mantener esa distancia. Fue una reflexión cerca de la importancia del acercamiento del arte y las matemáticas, en particular, el Arte y las Matemáticas en Mondrian. Este enfoque, junto con las computadoras, puede ser considerada como una de las primeras contribuciones a la creación de Visual Matemáticas se ha convertido en un poderoso instrumento para ayudar en la solución de problemas. / Esta dissertação pesquisou a aproximação da Arte e da Matemática na obra do Pintor Piet Mondrian (1872-1944) e como a obra desse artista contribui para o ensino-aprendizagem em Matemática e para a criação da Matemática Visual. O trabalho foi desenvolvido buscando, ao longo da história, razões para aproximações e afastamentos entre essas áreas do conhecimento e sobre o reconhecimento da importância sociocultural dessas áreas. Pesquisou-se a influência desses fatores sobre o processo de ensino-aprendizagem da Arte em Matemática e vice-versa. Em seguida, foi realizado um estudo sobre a trajetória do artista mostrando como e por que aconteceu essa aproximação em sua obra. Na seqüência, foram feitos estudos relativos ao Brasil sobre o processo de industrialização e o desenvolvimento da educação; a história da Matemática; a Matemática escolar; o ensino de Arte. É também apresentado um relato das experiências vividas pelo autor desta dissertação como professor de Matemática e Desenho Geométrico - embasadas nos estudos anteriores, que identificam razões para que o ensino da Matemática e da Arte na escola fossem tão comprometidos no decorrer da história da educação brasileira. Esses fatos também ocasionaram a manutenção desse afastamento. Foi realizada uma reflexão sobre a importância da aproximação da Arte e da Matemática, em particular da Arte e Matemática em Mondrian. Essa aproximação aliada à informática, pode ser considerada uma das primeiras contribuições à criação da Matemática Visual que é hoje um poderoso instrumento de auxílio na resolução de problemas.

Notre thèse vise à étudier comparativement le rapport esthétique entre le poète brésilien JoãoCabral de Melo Neto (1920-1999), le peintre hollandais Piet Mondrian (1872-1944) et lepeintre catalan Joan Miró (1893-1983). On connaît la proximité de João Cabral aux Arts, ycompris son intérêt à l’arrangement esthétique soutenu par certains artistes (du Baroque à laModernité). Cette façon d’agir lui assurait une méthode de travail : en parlant d’un artiste, desa compréhension du monde et de son esthétique, João Cabral les intégrait aussi dans sapropre poésie. En effet, il n’est pas aléatoire qu’il ait produit des poèmes où les noms de PietMondrian et Joan Miró apparaissent. D’ailleurs, en 1950, João Cabral a publié un textecritique sur l’oeuvre de ce peintre catalan, dont le titre est Joan Miró. Pour tout cela, nouscherchons dans notre étude de doctorat à vérifier les procédés esthétiques soutenus par PietMondrian et Joan Miró que l’on pourrait classifier comme semblables à ceux utilisés par JoãoCabral de Melo Neto dans sa poésie. / Our research aims to study the work of the Brazilian writer João Cabral de Melo Neto incomparison to some paintings of the Dutch painter Piet Mondrian and of the Catalan painterJoan Miró. By means of the discussion about both the creative model of the two painters andwhat João Cabral focuses aesthetically on them, we try to comprehend how these aestheticprinciples are literarily debated by the poet and how they would characterize or wouldn’t hispoetic. For this reason, we have selected the Poet’s initial phase, mainly the books Psicologiada Composição [Psychology of the Composition] and Uma faca só lâmina [One knife that isnothing but blade]. By the study of these two books, we can observe that João Cabral’s poetry is not only architected out of the object (in a model of depuration) but also out of the image(in a model of reconfiguration). In the first case, we see proximity between João Cabral’saesthetics and Mondrian’s one, and in the second case we see proximity between JoãoCabral’s aesthetics and Miró’s one.

Submitted by Fernando Souza (fernandoafsou@gmail.com) on 2017-08-22T13:01:59Z No. of bitstreams: 1 arquivototal.pdf: 2534842 bytes, checksum: 2ec0a7dac6ea5b712b95c6a583ed2731 (MD5) / Made available in DSpace on 2017-08-22T13:01:59Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2534842 bytes, checksum: 2ec0a7dac6ea5b712b95c6a583ed2731 (MD5) Previous issue date: 2016-04-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work aims at establishing dialogues between Augusto de Campos’ poetry and Piet Mondrian’s painting. Grounded in Russian School of Semiotics, we will show the poetic journey of the first one and the creative trajectory of the second one, in order to highlight some aesthetic convergence between them. The peculiarities of each artist and each of their studied works will be described based on Semiotics studies mentioned above. So, understanding the culture as aggregator tissue of symbolic systems is essential for the construction of our analysis, since it supports the arguments that aim at converging together two artists distant in time and space. Brazilian poetry and European painting will be presented in the chapter of analysis through four sections that already highlight evidences of dialogue in their works. The modern deconstruction view of the text and of the vanguard vitality will be perceived as confluent points and strong tension issues in each section of this investigation. Observing the poetic work in painting and the pictorial behavior in poetry directs the paths we pursue in this study / Com o presente trabalho, temos o objetivo de traçar diálogos entre a poesia de Augusto de Campos e a pintura de Piet Mondrian. Embasados em preceitos da Semiótica da Cultura, de extração russa, traçaremos o percurso poético deste poeta paulista, bem como a trajetória criativa do pintor holandês, a fim de apontar os pontos de comunhão de perspectiva e de confluência de pensamento estético, sem esquecer de garantir as peculiaridades de cada obra e de cada artista. Entender, portanto, a cultura enquanto tecido agregador de sistemas simbólicos é primordial para a construção de nossas análises, na medida em que sustenta as argumentações que visam confluir dois artistas distantes entre si no tempo e no espaço. A poesia brasileira e a pintura europeia serão apresentadas em nosso capítulo de análise por meio de quatro seções que já apontam indícios de diálogos das obras. Partindo dos conceitos de moldura e de revisão de tradição, chegaremos à visão de desconstrução do texto e de vitalidade das vanguardas como pontos confluentes e de forte tensão em cada seção de nossas investigações. Observar o trabalho poético na pintura e o comportamento pictural na poesia rege os caminhos por nós perseguidos neste estudo.

Submitted by Jorge Silva (jorgelmsilva@ufrrj.br) on 2017-04-25T20:17:33Z No. of bitstreams: 1 2016 - M?rian de Sousa Rodrigues.pdf: 853172 bytes, checksum: 273f598abae5754f06db3a76603b4309 (MD5) / Made available in DSpace on 2017-04-25T20:17:33Z (GMT). No. of bitstreams: 1 2016 - M?rian de Sousa Rodrigues.pdf: 853172 bytes, checksum: 273f598abae5754f06db3a76603b4309 (MD5) Previous issue date: 2016-08-31 / CAPES / The process of teaching and learning in the disciplines of Arts and Mathematics in the Elementary School faces a number of diffculties. These difficulties experienced by teachers and students in the school context emphasize the need to rethink the pedagogical practices involving these disciplines. The purpose of this paper is to discuss interdisciplinary possibilities of Arts and Mathematics, recognizing in particular the contributions that such an approach can help in Geometry learning in Elementary School. For this analysis was used the work "Composition in Red, Yellow and Blue" of artist plastic Piet Mondrian as starting point for developing a pedagogical activity that promotes dialogue between Art and Geometry. Through the image reading process and discussion of geometric concepts, we propose a pedagogical activity for the 6th year of Elementary School. In a complementary character and qualitative look, we apply the proposed activity to a group of students of this series of the Escola Municipal Tatiana Chagas Mem?ria, from the municipal education network of the city of Rio de Janeiro. / O processo de ensino e aprendizagem das disciplinas de Artes e Matem?tica no ?mbito do Ensino Fundamental enfrenta uma s?rie de difculdades. Essas dificuldades vivenciadas por professores e alunos no contexto escolar enfatizam a necessidade de repensarmos as pr?ticas pedag?gicas que envolvem essas disciplinas. A proposta deste trabalho ? refletir sobre possibilidades interdisciplinares entre Artes e Matem?tica, reconhecendo, em particular, as contribui??es que uma abordagem deste tipo pode auxiliar no aprendizado de Geometria no Ensino Fundamental. Para isso foi utilizada a an?lise da obra ?Composi??o em Vermelho, Amarelo e Azul? do artista pl?tico Piet Mondrian como ponto de partida para elabora??o de uma atividade pedag?gica que promovesse o di?logo entre Artes e Geometria. Atrav?s do processo de leitura de imagem e da discuss?o de conceitos geom?tricos, propomos uma atividade pedag?gica voltada para o 6? ano do Ensino Fundamental. Em car?ter complementar e com um olhar qualitativo, aplicamos a atividade proposta a um grupo de alunos dessa s?rie da Escola Municipal Tatiana Chagas Mem?ria, da rede municipal de educa??o da cidade do Rio de Janeiro.

For almost 35 years the work carried out by the Brazilian artist Lygia Clark between the 1950s and until her death, in 1988, has attracted the attention of both Brazilian and European scholars and critics. Since special attention has only been given to her post-1969 work, the work carried out until 1969 has been overlooked. In particular, I would argue that through the incorporation of the human body Clark's 1959-1964 Bicho series is the first spatial performative strategy developed by Clark during the 1960s and against which all her subsequent production needs to be read. / The present essay is thus an attempt to read as spatial performative strategies Clark's Bicho series with and against the Brazilian reception of Mondrian, reception which, as I would argue has been overlooked in the context of her work. Furthermore, I would argue that in order for us to better understand how the Bicho series unfold as spatial performative strategies the Brazilian reception of Mondrian must be approached through the Brazilian reception of Merleau-Ponty's phenomenology and political and cultural movements of the time. While the role played by Merleau-Ponty's incorporation of the human body in Clark's work has not been closely examined, Clark's engagement with the political and cultural movements of her time has been underestimated. I would argue that any attempt to give an account of Clark's practice needs to take into consideration the role these three aspects played in her engagement with the problem of representation.