tore nordenstam explanation and understanding in the history of art

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as a trial and error process, where the aim is to improve on the existing schemata for rendering the inner world in visual form. What a picture represents cannot be determined by looking at the picture in isolation. Rather, it gets its meaning by the ways in which it continues and breaks the tradition which is a necessary condition for its production. Which feelings a particular work of art expresses can only be decided by relating it to the artist's other works and to earlier works by other artists. The expression of feeling is a question of style. Applying these ideas to Mondrian’s Broadway Boogie-Woogie (Fig. 7 above), Gombrich suggests that this painting expresses “gay abandon”; the picture explains to Gombrich, who professes to know nothing about that kind of music, what a boogie-woogie is. 5 Against the background of more “severe” works like Fig. 1 - 5, Gombrich’s suggestion might seem rather plausible. Perhaps Mondrian felt more relaxed in New York than he had done before; perhaps he became a less severe man as he grew older, and perhaps his paintings reflect this emotional development. But if we turn to Mondrian’s own writings on art, and he wrote extensively on his own art, we get another picture. The Broadway Boogie-Woogie was painted in 1942-43, in the middle of the war, by one of the many refugees from Europe. Mondrian might have had no particular reason to feel gay abondon in that situation, or to try to represent such feelings in his art, but his belief in art remained unshaken: “Even in this chaotic moment, we can near equilibrium through realisation of a true vision of reality. Modern life and culture helps us in this. Science and techniques are abolishing the oppression of time”, he wrote in 1942. “Plastic art must move not only parallel with human progress but must advance ahead of it.” 6 Mondrian discovered that “[w]here there is no history, reason becomes lucid madness,” according to one commentator, 7 but his optimistic faith in the progress of mankind and the central role of art in that development did not falter. 5 Gombrich, Art and Illusion, p. 369. 6 Quoted after I. Tomassoni, Mondrian, Hamlyn, London 1970, p. 13. 7 G. C. Argan, Salvezza e caduta nell’arte moderna, Milan 1963, quoted in Tomassoni, op. cit., p. 47.
To realize “a true vision of reality” was indeed Mondrian’s aim, according to the self- image that he has given us in his art-theoretical writings. In his contributions to the Dutch journal De Stijl from 1917 onwards, he explained his intention of eliminating “the particular” from his art, emphasizing “the universal” by “a pure plastic expression of relationships”. 8 “In painting you must first try to see composition, colour and line, and not the representation as representation. You will finally come to feel the subject-matter a hindrance.” 9 The subject-matter had never been important in itself, he explains in “A Dialogue on Neoplasticism”, also in De Stijl: A: I admire your earlier work. Because it means so much to me, I would like to understand your present way of painting better. I see nothing in these rectangles. What are you aiming at ? B: At nothing different than before. Both have the same intention but my latest work brings it out more clearly. A: And what is that intention ? B: The plastic expression of relationships through oppositions of colour and line. A: But didn't your earlier work represent nature? B: I expressed myself by means of nature. But if you observe the sequence of my work carefully, you will see that it progressively abandoned the naturalistic appearance of things and increasingly emphasizes the plastic expression of relationships. 10 Mondrian had no intention to express his own particular feelings in his art; he aimed at finding apt visual expressions for the fundamental structure of the world, as he saw it. But that does not mean that his art has nothing to do with “feelings”, in some sense of that ambiguous word. In the next installment of the dialogue from which we quoted above, Mondrian lets A say: “I gather that abstract painting is not just intellectual, but is as much the product of feeling?” And B, the Neoplastic painter, answers: “Of both: 8 De Stijl, Vol. II, No. 4; English translation in Hans L. C. Jaffé, De Stijl, Thames and Hudson, London 1970, p. 121. 9 Op. cit., p. 119. 10 Op. cit., pp. 117-118.
Page 1 and 2: TORE NORDENSTAM EXPLANATION AND UND
Page 3 and 4: NOTE ON THE INTERNET EDITION A long
Page 5 and 6: 1. THE MEANING OF MONDRIAN It would
Page 7 and 8: The picture is signed with the init
Page 9 and 10: Fig.2 Composition III with blue, ye
Page 11 and 12: The rest of Mondrian’s oeuvre fro
Page 13 and 14: Fig. 6 New York City, 1942 Oil on c
Page 15: In the Broadway Boogie-Woogie, one
Page 19 and 20: interpretation. 13 If we are intere
Page 21 and 22: Fig. 8 Landscape near Amsterdam, ca
Page 23 and 24: Fig. 10 Trees on the banks of the G
Page 25 and 26: Fig. 12 The red tree, 1909-10. Oil
Page 27 and 28: Fig. 14 Trees in blossom, 1912 Oil
Page 29 and 30: Fig. 16 Trees, 1913-14. Sketch-book
Page 31 and 32: Fig. 18 Composition: Checkerboard,
Page 33 and 34: proposal lies a Wittgenstein-inspir
Page 35 and 36: 2. PATTERNS OF EXPLANATION Sage, wa
Page 37 and 38: Example 1. Commenting on Mondrian
Page 39 and 40: of the painting, whereas the color
Page 41 and 42: Example 5. In his book Pictures as
Page 43 and 44: Geistesmenschen in die geistige Wel
Page 45 and 46: and the laws. A valid deductive arg
Page 47 and 48: Towards the and of the 1950s, a num
Page 49 and 50: The phrase “the right thing to do
Page 51 and 52: But is it possible to interpret the
Page 53 and 54: particularly for explaining actions
Page 55 and 56: (P3) “Normal conditions” obtain
Page 57 and 58: indications to the contrary have be
Page 59 and 60: 2.4. Influence explanations Von Wri
Page 61 and 62: influence explanations may then be
Page 63 and 64: picturesque - underwent the influen
Page 65 and 66: Fig. 23 Piet Mondrian, Composition
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It has been claimed that the intent
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3.1. A pragmatic perspective The in
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It can be objected to Apel that the
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In a full-fledged case of mastering
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concepts which are on principle ina
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surroundings in particular ways. Th
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Fig. 24 The structure of action sit
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about harmony and counterpoint. Und
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Fig. 25 A picture with a faulty per
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must have the relevant concepts at
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aim. 112 We cannot step outside our
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One commentator (Erik Kruskopf) cha
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Fig. 28 Piet Mondrian, Devotion, 19
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phenomena of intense color luminosi
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point. “We may say that for Kandi
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interpenetrate and achieve balance
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4. INTENTION AND WORK Die Absicht i
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But it has also been forcefully arg
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elations to the other strands in th
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private intention which happens to
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ehaviour (in some sense of the word
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model. 144 It seems reasonable to a
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If one makes the distinctions betwe
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the master of a pictorial practice
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”At present, the new plastic is s
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explanation in history is like caus
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CONCLUSION In the beginning of this
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tore nordenstam explanation and understanding in the history of art

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