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 Most exhibitions in: |
| Country |
№ |
| USA | 47 |
| Germany | 27 |
| Netherlands | 20 |
| Switzerland | 13 |
| France | 11 |
| Most exhibitions held at: |
| Institution |
№ |
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Gemeentemuseum Den Haag, Netherlands |
11 |
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Foundation Beyeler, Switzerland |
6 |
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Fundación Juan March, Spain |
5 |
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MoMA - Museum of Modern Art, USA |
4 |
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Centre Pompidou - Musée National d´Art Moderne, France |
4 |
Biography: 
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Photo: http://park.org
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7.3.1872 Born in Amersfoort, UT (NL)
Piet Mondriaan at the Kortegracht in Amersfoort. He is baptised at the Dutch Reformed Church and brought up according to its doctrines. He has an elder sister, Christien (1870-1939) and three younger brothers, Willem (1874-1945), Louis (1877-1943) en Carel (1880-1956). His father is head of the first Protestant primary school in Amersfoort and an active member of the anti-revolutionary political party. He makes lithographs of historical and biblical subjects.
1880 The Mondrian family moves to Winterswijk, where the father becomes head of the Primary School for National Protestant Education.
1886 After eight years' schooling, prepares to take the exam for Primary School Teaching in Drawing, helped by his father and his uncle Frits (1853-1932; landscape painter of the Hague School).
1889 He obtains his diploma, teaches drawing at his father's school and prepares for the exam for Secondary School Teaching in Drawing and Perspective, this time with the help of the retired art teacher, Jan Braet von Ueberfeldt (1807-1894).
1890 Exhibitis two works at the Exhibition of Art by Living Masters in the Hague.
1892 He obtains his second diploma and, from Queen Emma, a scholarship for studying Art. He moves to Amsterdam, lives in the Kalverstraat, and takes catechism lessons at the Presbyterian Church. At the State Academy of Art , he takes "small" classes in painting. Becomes a member of the Society of Art Lovers in Utrecht, where he exhibits regularly until 1909.
1893 Is confirmed at the Reformed Church. Spends another year at the Academy, now in the "large" painting class.
1894 Changes to evening classes in "drawing from life". Becomes a member of the Amsterdam artists' societies, Arti et Amicitiae and St. Lucas.
1895 Moves to the Ruysdaelkade and works as a free-lance artist, painting mostly landscapes. In order to earn a living he copies old masters, designs ex-libris, makes bacteriological drawings, paints portraits and gives drawing-lessons.
1896 Takes evening classes in etching at the Academy.
1897 At the beginning of the year, he moves to the Ringdijk in the south of Amsterdam, but returns to the centre, the Stadhouderskade, in December. Exhibits for the first time at Arti and Amicitiae and St. Lucas, which he continues to do almost annually until 1910. Wants to study Art in England but does not obtain entry.
1898 Enters the "Prix de Rome" Competition but fails the entrance exam because of poor marks for anatomy. Applies for a job as art teacher at a school in Enschede. Moves to the Albert Cuypstraat. Designs four panels for the pulpit of the English Reformed Church in the Begijnhof in Amsterdam.
1899 Paints allegorical scenes on a ceiling of the house of a doctor, Abraham van de Velde, on the Keizersgracht.
1900 Paints subjects in and around Amsterdam: moored boats, dredgers, factories and landscapes. During the following ten years, he is usually to be found near the river Gein, together with his friend and fellow-artist, Simon Maris and with Arnold M. Gorter. Meets a forestry student, Albert van den Briel (1881-1971), with whom he remains in contact for a long time.
1901 With his family, his father moves to Arnhem, where he has taken a job as a private tutor. Mondrian travels to Spain with Simon Maris.
1903 Moves in with his brothers, Louis and Carel, in the Watergraafsmeer in Amsterdam. Stays for some time in Nistelrode in Brabant with Van den Briel.
1904 Settles in Uden for some peace and quiet. Becomes a member (until 1907) of the board of the artists' society, St. Lucas, responsible for the library and archives.
1905 - 1906 At the beginning of 1905, he returns to Amsterdam and lives in the attic of the St. Lucas building. Meets the painter, Albert G. Hulshoff Pol (1883-1957) and his family. They live in Oele in Twente and Mondrian spends the winter with them, painting a series of evening landscapes. He also stays there in the summer of 1907.
1908 Late pointilist works by Toorop, Sluyters and Mondrian are exhibited at St. Lucas and soon named "luminist". Mondrian learns of the philosophies of Helena P. Blavatsky and Rudolf Steiner. Stays a fortnight in Domburg, concentrating on four subjects there: the church, the lighthouse in Westkapelle, the dunes and the sea. Returns to Domburg regularly until 1919.
1909 Mondrian's mother dies. Mondrian exhibits at the Municipal Museum in Amsterdam with Kees Spoor and Jan Sluyters. His work is in unnatural colours. Becomes a member of the Theosophical Society in Amsterdam and corresponds with the art-critic, Querido, about the artistic principles embodied in his painting, "Devotion".
1910 Becomes a member of the Parisian artists' society, Société des Artistes Indépendants. Is involved in setting up the Modern Art Circle in Amsterdam, of which he becomes a board member, together with Sluyters, Conrad Kickert (secretary) and Jan Toorop (chairman).
1911 Ten-day visit to Paris. Sees work by Cézanne, Braque and Picasso at the Municipal Museum in Amsterdam and decides to move to Paris. His work (Still-life with Ginger-pot) shows cubist influences.
1912 Lives for about two months on the Avenue du Maine 33, then moves to the Rue du Départ in May. Spends a month during the summer in the Netherlands (Domburg, Amsterdam en Arnhem). Paints his "trees" series. During a short visit to Amsterdam in October, he meets the composer, Jacob van Domselaer (1890- 1960).
1913 In Galerie Der Sturm in Berlin, he exhibits two paintings of facades and roofs of houses (instead of trees), which have neutral numbers by way of titles. These works show a development towards increasing abstraction, in which reality is less and less recognisable. Writes a long article on art and theosophy for the periodical, "Theosophia", which is not published. Enters on a fruitful relationship with the art-pedagogue, H.P. Bremmer.
1914 Exhibits in Zurich and Prague and sends sixteen works (composition 1 to 16) to the art-dealer Walrecht in the Hague. In the summer, he comes to visit his sick father and, due to the outbreak of World War I, cannot return to Paris. Stays in Arnhem, Amsterdam, Domburg and Laren. Rejecting the Paris "house" themes, he once again paints Domburg subjects. Writes about art, life and theosophy in his sketchbooks. Keeps his Paris studio on.
1915 Settles in Laren, where he remains until 1919. Spends much of his time writing on his theory of art and paints relatively little (about 20 works), in which he arrives at complete abstraction in coloured planes and horizontal and vertical lines. Meets the Christosophist, Mathieu Schoenmaekers, the writers, Jan Greshof, Martinus Nijhoff and Adriaan Roland Holst, and the Amsterdam house-agent, Salomon Slijper, who is to buy much of Mondrian's work and find him commissions. In the evenings, he often visits Hotel Hamdorff, where he likes to dance. Starts on a correspondence and friendship with the critic and painter, Theo van Doesburg (1883-1931). Works hard at his book, which, instead of publishing as such, he publishes in a series of articles in the periodical De Stijl from 1917 onwards.
1916 Meets Bart van der Leck (1876-1958), who influences him in the use of colour and painting in figurative planes. They discuss art.
1917 Paints "Composition with Coloured Planes" and, together with Van Doesburg, Van der Leck and the architect, J.J.P Oud, founds the periodical "De Stijl", of which Van Doesburg becomes chief editor. In this, he publishes twelve instalments on "Neo-plasticism in Art" (1917-18).
1918 Paints works on a regular lattice-framework and discusses the use of diagonals with Van der Leck.
1919 Publishes his "Dialogue on Neo-plasticism" in De Stijl and paints his "Draughtboard in Light Colours" and "Draughtboard in Dark Colours". Leaves Laren for Amsterdam, pending his return to Paris. Publishes "Natural and Abstract Reality: Trialogue" in De Stijl (1919-20). Arrives in Paris and settles in the Rue de Coulmiers 5.
1920 Van Doesburg comes to stay. Mondrian writes the article, "Les Grands Boulevards", which is published in De Nieuwe Amsterdammer. He no longer uses the framework or the graded colours in his work and paints his first Neo-plasticist painting, "Composition in Yellow, Red, Black, Blue and Grey". From this moment on, Mondrian uses only primary colours and the non-colours, black, white and grey in the planes, and black horizontal and vertical lines. These various elements must become of equal value so that there is no heirarchy, but a balanced harmony of line and colour in the work. In this balance lie the universal laws of art. Together with Van Doesburg and the poet, Anthony Kok (1882-1969), he signs a literary manifesto in De Stijl. Writes "Small Restaurant - Palm Sunday". Oud and his wife visit Mondrian, who is working hard on many paintings.
1921 The Rosenberg Galerie publishes "Le Néo-Plasticisme; Principe Général de l'Equivalence Plastique". In De Stijl, "De Bruiteurs Futuristes Italiens" and "What is new in Music" appear. In October, he returns to the Rue du Départ 26, where he lives until 1936 and which he furnishes and decorates according to Neo- plasticist principles, with cardboard rectangles in primary colours on the walls.
1922 In De Stijl, Mondrian publishes "Neo-plasticism and its Realisation in Music" and "Realisation of Neo- plasticism in the Far Future and in Contemporary Architecture". In honour of his 50th birthday, he has a one-man exhibition in the Municipal Museum in Amsterdam. Mondrian paints many flower pictures for his keep.
1923 Exhibits in Berlin at the Grosse Berliner Kunstausstellung. Writes a short essay in De Stijl, "Must painting be subservient to Architecture?"
1924 Publishes "Setting the Sails to the Wind" in De Stijl. With Van Doesburg there are increasing differences of opinion on Neo-plasticism in art, resulting in a quarrel and Mondrian's leaving De Stijl. He does, however, contribute to a special memorial edition on the death of Van Doesburg in 1932. Sells a painting to the Landesmuseum in Hannover.
1925 Meets Arthur Lehning (1899), Mart Stam and his future friend and biographer, Michel Seuphor (1901). Several sales in Germany enable him to continue his free-lance work. Exhibits in Dresden and sells two paintings. Publishes "L'Architecture future neoplasticienne" in L'Architecture Vivante. "Piet Mondrian. Neue Gestaltung. Neoplastizismus. Nieuwe Beelding" appears in Bauhausbuch nr.5.
1926 Mondrian asks Paul Delbo to take three photos of his studio for publication in newspapers and periodicals. Designs a studio in Ida Bienert's house in Dresden. Exhibits in Munich. "Le Neo-Plasticisme" is reprinted in nine consecutive numbers of the "Bulletin de l'Effort Moderne". "L'Art Purement Abstrait" appears in Vouloir, leading to correspondece with the French painter and sculptor, Jean Gorin (1899-1981). In the second number of ABC, Mondriaan publishes "Die Malerei und ihre praktische Realisierung". Designs and makes a maquette of the decors for Seuphors play, "L'Ephémčre est eternel". Exhibits at the International Art Exhibition in Dresden and, for the first time, in the USA at the International Exhibition of Modern Art in the Brooklyn Museum, organised by Katherine S. Dreier (1877-1952). In Cahiers d'Art, he publishes "L'Expression Plastique Nouvelle dans la Peinture".
1927 Publishes the article, "Neo-plasticism; Home - Street - City" in Lehning's Internationale Revue i10. Shortly after, it appears in French in Vouloir 25 as "Le Home - la Rue - la Cité". At the end of the year, another article, "Jazz and Neo-plasticisme" appears in Internationale Revue i10. Exhibits at the Anderson Galleries in New York, the Städtische Kunsthalle in Mannheim, the Salon des Tuileries, the bookshop- gallery l'Esthétique and the Dutch Painters' Society in Paris, and the exhibition of the Indépendants at the Municipal Museum in Amsterdam. Sells a work in America for the first time.
1928 Two of Mondrian's works are included in the "Raum fur Konstruktiven Kunst", which Lissitzky has organised for the Landesmuseum in Hannover. Exhibits again at the Municipal Museum in Amsterdam and at the Salon des Tuileries and Galerie Jeanne Bucher in Paris. Two works are sent to the Dutch pavilion of the 16th Biennale in Venice. Designs a "Tableau�poeme", a gouache in which the text of a poem is integrated in a neoplasticist composition. Has many meetings with the Swiss architect, Alfred Roth. Both are very interested in each other's work. Mondrian has started writing a book on art, life and society.
1929 Renews the friendship with Van Doesburg. Sends two works to Dreier in New York. Alfred Roth buys a painting. At the Expositions Selectes d'Art Contemporain in the Municipal Museum in Amsterdam, he exhibits four paintings, all of which are sold. Also exhibits in the Kunsthaus in Zürich at the exhibition, "Abstrakte und Surrealistische Malerei und Plastik", at "Wege Abstrakter Malerei" at the artists' society, Die Juryfreien in Munich and at the Exposicio d'Art Modern Nacional i Estranger at the Galerie Dalmau in Barcelona. At the request of the Swiss culture and architecture historian, Sigfried Giedion, he writes "Die Rein Abstrakte Kunst", which appears in the Neue Zürcher Zeitung.
1930 Mondriaan publishes "Vouloir Construire" and "l'Art Realiste et l'Art Superrealiste" in the periodical, Cercle et Carré of the newly founded society of that name, and "Le Cubisme et la Neoplastique" in Cahiers d'Art. Exhibits work at the exhibitions, Cercle et Carré, Art Concret in Stockholm, and in Productions Paris 1930 at the Kunstsalon Wolfsberg in Zürich.
1931 Becomes a member of Abstraction-Création, a new society founded by Arp, Giacometti, Helion, Herbin, Vantongerloo and Van Doesburg. Many of the artists associated with Art Concret en Cercle et Carré, both defunct, become members. Writes a necrology for Van Doesburg, who died of a heart-attack, for the last number of De Stijl, which appears in 1932. Mondrian's work is shown in New York at the Special Exhibition Presented by the Société Anonyme, at the Landscape Painting exhibition at the Wadsworth Atheneum in Hartford, Connecticut, at L'Art Vivant en Europe in the Palais des Beaux Arts in Brussels, at the first exhibition of the Association '1940' in Galerie de la Renaissance in Paris, and the exhibition, Abstraction, in Cambridge, Massachusetts.
1932 "Composition with two Black Lines", bought by the Utrecht branch of the Dutch Artists' Bond, is offered to the municipal authorities in Hilversum and is hung in Dudok's Town Hall. Mondrian's work is exhibited at the Bijenkorf in Rotterdam, the Municipal Museum in Amsterdam, at Galerie Zak in Paris, at the Museum of Modern Art in New York and at the art dealers', Huinck en Scherjon. Influenced by the work of the British artist, Marlow Moss (1890-1958), Mondriaan experiments with the use of double lines. The American art-dealer, Sydney Janis (1895-1989), buys "Composition with Red and Blue".
1933 Experiments intensively with double lines and corresponds with Moss about it. Sells a painting to the American collector, Albert E. Gallatin (1881-1952), and the Swiss Rudolf Graber. In Germany, the Reichskulturkammer is set up, prohibiting avant-garde art. "Composition with four Yellow Lines", bought and funded by Dutch architects and artists on the occasion of Mondrian's 60th birthday, is offered to the Municipal Museum in The Hague.
1934 Meets the English artists, Barbara Hepworth (1903-1975), Ben Nicholson (1894-1982) and Winifred Nicholson (1893-1981), who remain in close contact with Mondrian up to 1938. Enrols in the Syndicat des Artistes en Chomage, an aid-organisation for artists who are out of work because of the Depression, and receives 86 francs for a fortnight. Writes the article, "La vraie valeur des oppositions dans la vie et dans l'art", which is translated into English by Winifred Nicholson for a new periodical on abstract art, Axis, but is turned down. Meets the Americans, James Johnson Sweeney (1900-1986) and the artist, Harry Holtzman (1912-1987), with whom he becomes close friends. Exhibits at the twelfth Salon des Tuileries and at the Renaissance Society of the University of Chicago.
1935 Paints little, due to illness, and is chiefly occupied with correcting the manuscript, "L'art Nouveau, La Vie Nouvelle". Exhibits in "Thesis, Antithesis, Synthesis" at the new Kunstmuseum in Luzerne, at the Sidney Janis Collection exhibition at the Arts Club in Chicago and Abstract Art at the Wadsworth Atheneum in Hartford, Connecticut. Sells several paintings to, amongst others, Sweeney, Winifred Nicholson and the American artist and critic, George L.K. Morris (1905-1975). Learns of the impending demolition of the studios in the Rue du Départ to make way for the expansion of the Gare Montparnasse.
1936 Moves to a building with studio flats on the Boulevard Raspail 278. Paints his new studio white with coloured panels. Exhibits at the Arts Club in Chicago, and in Oxford and Liverpool in England. Is represented at Barr's exhibition, Cubism en Abstract Art, at the Museum of Modern Art in New York. This exhibition travels to seven cities in the USA. The art-dealer, F. Valentine Dudensing becomes Mondrian's USA agent and sells many paintings. Mondrian produces the first work in which the wooden frame is replaced by a simple strip of adhesive tape, stuk around the frame and set back from the edges of the canvas.
1937 The article, translated by Winifred Nicholson in 1934, that was not published in Axis, now appears in two instalments in Circle: International Survey of Constructive Art, with the title, "Plastic Art and Pure Plastic Art". Sweeney publishes three of Mondriaan's theoretical writings, translated from the French, in Transition, a periodical on avant-garde art. The Japanese, Sabura Hasegawa, in his book (published in Japanese), "Abstract Art. The Ideas and Spirit of Modern Art", gives a summary of Mondrian's artistic development. The New York Times Magazine states that Neo-Plasticism is one of the most important streams in abstract art. Paintings are exhibited at the Walter P. Chrysler Jr. Collection at the Arts Club in Chicago, at the Constructivist exhibition in the Kunsthalle in Basle, at New Acquisitions: Gifts of the Advisory Committee in the Museum of Modern Art in New York, at the exhibitions, Entartete Kunst in Munich, Origines et Développement de l'Art International Independant at the Musée du Jeu de Paume in Paris, Liniens Sammenslutning in Copenhagen and the Walter P. Chrysler Jr. Collection at the Detroit Institute of Arts.
1938 Invites himself to stay with friends in America and England. Ben Nicholson is the first to reply and, because of the threat of war with Germany, Mondrian leaves for London, together with Winifred Nicholson, settling in Hampstead at 60, Parkhill Road. Up to his departure for the USA in 1940, Holzman sends him a monthly sum of money. Notifies Holzman about his plans for 'a real modern, esthetic school" in Chicago as an alternative for the Bauhaus. These are based on notes for a series of lectures entitled, "The Necessity for a New Teaching in Art, Architecture and Industry". Exhibits at Abstract Art at the Municipal Museum in Amsterdam. An article by Mondrian, "Art without Subject", is included in the catalogue.
1939 Britain declares war on Germany. Holzman begs Mondrian to come to New York, Ben Nicholson suggests Cornwall. Mondrian is sick of moving. Exhibits at Living Art at the London Gallery, at Abstract and Concrete Art at the Guggenheim Jeune Gallery in London, at Art in Our Time at the new building of the Museum of Modern Art in New York, at the retrospective exhibtion of Abstract Art in Paris and at Gallatin's Gallery of Living Art in New York.
1940 Disturbed by the evils of nazism and communism, Mondrian writes "Liberation from Oppression in Art and Life". Holtzman helps him to obtain a visum for America and he leaves by boat on September 23rd, arriving in New York on October 3rd. He lives at 353 East 56th Street, on the corner of First Avenue and again creates his own familiar surroundings by white-washing the walls and hanging coloured panels on them.
1941 Becomes a member of the American Abstract Artists (AAA). He now starts working with self-adhesive tape of varying width and colour. Meets the art-writer and painter, Charmion von Wiegand (1898-1983) when she visits his studio with the painter, Carl Holty (1900-1973). A deep friendship springs up and Von Wiegand edits Mondrian's texts and translates them from the French. Holtzman helps him rewrite "L'art Nouveau - la Vie Nouvelle", now entitled "Oppression and Freedom in Art". Mondriaan often listens to jazz and boogie-woogie. Exhibits at an exhibition of the AAA and, accompanied by Holty, requests US citizenship.
1942 Mondrian takes an active part in New York social life and meets many avant-garde artists, many of whom he already knew in Paris. Has a one-man exhibition at the Valentine Gallery, on the occasion of which his autobiographical manuscript, "Towards a True Vision of Reality", is published. Takes part in "Artists in Exile" at the Pierre Matisse Gallery in New York, for which occasion photos are made of the participants; in the 6th exhibition of the American Abstract Artists at the Fine Arts Gallery in New York; in Abstract Painting by 25 American Artists at the Museum of Living Art in New York University; in New Acquisitions and Extended Loans at the Museum of Modern Art and the exhibition of fifty-eight Masters of Abstract Art at Helena Rubinstein�s New Art Center in New York. In de catalogue of the latter, Mondrian's new essay, "Pure Plastic Art", is published. Mondriaan makes a will, with Harry Holtzman as sole legatee. Leaves the three unfinished paintings from the New York City series to begin on Victory Boogie Woogie en Broadway Boogie Woogie. Arnold Newman takes a number of photos of Mondrian in his studio.
1943 Sale of his work enables Mondrian to move to a larger appartment at 15, East 59th Street, which he has painted completely white. He hangs coloured panels on the walls and makes furniture from fruit-crates, slats and other bits of discarded wood. Takes part in a travelling exhibition, Modern Dutch Art, of the Netherlands Information Bureau in New York; in the exhibition, 15 Early and 15 Late Paintings at Art of This Century; in Unity in Diversity: An Exhibition and a Contest at the Nierendorf Gallery and in New Acquisitions (Broadway Boogie Woogie) at the Museum of Modern Art in New York. There is another one-man exhibition, smaller than the first, at the Valentine Gallery. He writes his last essay, "A New Realism", which is to be published posthumously in 1945 and 1946. Is a member of the jury for Peggy Guggenheim's first Spring Salon for Young Artists in her Gallery, Art of This Century.
1944 Mondrian works intensively on Victory Boogie Woogie, constantly revising it. A cold develops into bad pneumonia and his doctor, Max Trubek, has him taken to the Murray Hill Hospital, where, in the early morning of February 1st, Mondrian dies, 71 years old. Amidst a host of mourners from the art world, Mondrian is buried on February 3rd at the Cypress Hill Cemetery.
1.2.1944 Died in New York City, NY (US)
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Public exhibitions 168
until 27.2.2010
until 24.1.2010
until 10.1.2010
until 4.1.2010
until 13.12.
Solo shows 18
2008
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| Mondriaan - Gemeentemuseum Den Haag, The Hague |
2007
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| Piet Mondrian - Vom Abbild zum Bild - Museum Ludwig, Cologne |
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| Light of Zeeland - Mondrian in Domburg - Gemeentemuseum Den Haag, The Hague |
2005
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| Piet Mondriaan - Albertina, Vienna |
2004
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| Mondrian and De Stijl - Gemeentemuseum Den Haag, The Hague |
2001
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| New Mondrian presentation - Gemeentemuseum Den Haag, The Hague |
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| Mondrian: The Transatlantic Paintings - Busch-Reisinger Museum, Cambridge, MA |
1998
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| Mondrian Exhibition - Bunkamura, Tokyo |
1996
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| Piet Mondrian - Sara Hildén Art Museum, Tampere |
1995
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| Piet Mondrian: 1872-1944 - MoMA - Museum of Modern Art, New York City, NY |
1991
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| Mondrian Flowers in American Collections - The Modern Art Museum of Fort Worth, Fort Worth, TX |
1983
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| Mondrian: New York Studio Compositions - MoMA - Museum of Modern Art, New York City, NY |
1982
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| Piet Mondrian - Institut de Cultura de Barcelona, Palau de la Virreina, Barcelona |
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| Piet Mondrian - Fundación Juan March, Madrid |
1979
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| Mondrian and De Stijl - - Galerie Gmurzynska - Köln, Cologne (closed, 2006) |
1972
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| A Piet Mondrian - MNBA - Museo Nacional de Bellas Artes Santiago Chile, Santiago |
1955
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| Piet Mondriaan - Whitechapel Art Gallery, London (England) |
1945
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| Piet Mondrian - MoMA - Museum of Modern Art, New York City, NY |
Group shows 145
2009
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| Colors of the Sea, Shapes of the Sea - Bridgestone Museum of Art, Tokyo |
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| A Walk on the Beach - PaceWildenstein - 534 West 25th Street, New York City, NY |
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| Cézanne and Beyond - Philadelphia Museum of Art, Philadelphia, PA |
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| COSTANTI del classico nell'arte del XX e XXI secolo - Fondazione Puglisi Cosentino - Palazzo Valle, Catania |
2008
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| Interieur/Exterieur. Wohnen in der Kunst - Kunstmuseum Wolfsburg, Wolfsburg |
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| XXth Century - Gemeentemuseum Den Haag, The Hague |
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| De Mirň ŕ Warhol La Collection Berardo ŕ Paris - Musée du Luxembourg, Paris |
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| spuren des geistigen - traces du sacré - HDK - Haus der Kunst - München, Munich |
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| Monet to Picasso from the Cleveland Museum of Art - Utah Museum of Fine Arts, Salt Lake City, UT |
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| Mehransichtigkeiten - Museum Moderner Kunst Stiftung Ludwig - MUMOK , Vienna |
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| Traces du Sacré - Centre Pompidou - Musée National d´Art Moderne, Paris |
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| Genau + anders - Mathematik in der Kunst von Dürer bis Sol LeWitt - Museum Moderner Kunst Stiftung Ludwig - MUMOK , Vienna |
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| Das Sehen sehen Neoimpressionismus und Moderne - Kunsthaus Zug, Zug |
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| "How Artists Draw: Toward the Menil Drawing Institute and Study Center" - The Menil Collection, Houston, TX |
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| Genesis – Die Kunst der Schöpfung - Zentrum Paul Klee, Bern |
2007
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| The Société Anonyme: Modernism for America - Frist Center for the Visual Arts, Nashville, TN |
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| La Abstraction del Paisaje - Fundación Juan March, Madrid |
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| The Modern Landscape - The Allen Memorial Art Museum, Oberlin, OH |
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| Die andere Sammlung. Hommage an Hildy und Ernst Beyeler - Foundation Beyeler, Riehen |
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| Modern Masters from the Guggenheim Collection - - Guggenheim Hermitage Museum, Las Vegas, NV (closed) |
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| Jongkind tot Van der Leck - Armando Museum, Amersfoort |
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| Summer tour in the Van Abbemuseum - Stedelijk Van Abbemuseum, Eindhoven |
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| Eye-Music - Klee, Kandinsky and all that Jazz - Pallant House Gallery, Chichester, West Sussex (England) |
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| Het ‘verborgen’ naakt van Walcheren - Naakt is het blote gevaar - Marie Tak van Poortvliet Museum Domburg, Domburg |
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| Annely juda - A Celebration - Annely Juda Fine Art, London (England) |
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| František Kupka - Piet Mondrian - Museum Kampa - The Jan and Meda Mládek Foundation, Prague |
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| The Shapes of Space - Solomon R. Guggenheim Museum, New York City, NY |
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| Temptations - The Columns, Seoul |
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| Ateliers - L'artistes et ses lieux de création - Centre Pompidou - Musée National d´Art Moderne, Paris |
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| Floral Still Lifes from the Collection of Robert and Jane Meyerhoff - The Walters Art Museum, Baltimore, MD |
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| Modernism - Designing a New World 1914-1939 - The Corcoran Gallery of Art, Washington, DC |
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| Laboratorium Moderne. Bildende Kunst, Fotografie und Film im Aufbruch - Museum Moderner Kunst Stiftung Ludwig - MUMOK , Vienna |
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| Cutting Edge - Geometry in Art 1910-1965 - Scottish National Gallery of Modern Art, Edinburgh (Scotland) |
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| Raum - Orte der Kunst - AdK - AKADEMIE DER KÜNSTE, Berlin |
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| Il Simbolismo. Da Moreau a Gauguin a Klimt - Palazzo dei Diamanti, Ferrara (FE) |
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| Ausgerechnet… Mathematik und Konkrete Kunst - Museum im Kulturspeicher, Würzburg |
2006
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| [Grid < > Matrix] - Mildred Lane Kemper Art Museum, Saint Louis, MO |
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| The Société Anonyme - Modernism for America - The Phillips Collection, Washington, DC |
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| Collecting Modernism- European Modernism from the Munson Williams-Proctor Art M - New Mexico Museum Arts, Santa Fe, NM |
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| Von Monet bis Mondrian - Galerie Neue Meister, Dresden |
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| All the Best. The Deutsche Bank Collection and Zaha Hadid - Singapore Art Museum, Singapore |
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| The Guggenheim Collection - Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn |
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| Zo ziet het paradijs eruit I - De Hallen, Haarlem |
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| Transformation; Aus eigener Sammlung - Kunstmuseum Liechtenstein, Vaduz |
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| Cubist art from the Triton Foundation - Gemeentemuseum Den Haag, The Hague |
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| On View - Stellar Works from the Collection - Albright-Knox Art Gallery, Buffalo, NY |
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| Modernism in St Ives - Tate St. Ives, St. Ives, Cornwall (England) |
| |
| Vriendschap! - Kunstschatten uit Twents privébezit - Rijksmuseum Twenthe - Museum voor oude en moderne kunst, Enschede |
2005
|
| Kunst, die man nicht immer sieht - Wilhelm Hack Museum, Ludwigshafen |
| |
| Celebración del arte - Medio siglo de la Fundación Juan March - Fundación Juan March, Madrid |
| |
| In neuer Frische - Neupräsentation der Sammlung - Wilhelm Hack Museum, Ludwigshafen |
| |
| The Phillips Collection - Washington - MART- Museo d'Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto |
| |
| Works on Paper - Marlborough New York, New York City, NY |
| |
| van Gogh bis Beuys - Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn |
| |
| 20 Jahre K20 am Grabbeplatz - Erweiterte Präsentation der Sammlung - K20 Kunstsammlung Nordrhein-Westfalen - am Grabbeplatz, Dusseldorf |
|
| Extreme Abstraction - Albright-Knox Art Gallery, Buffalo, NY |
| |
| Only Make-Believe: Ways of Playing - Compton Verney, Compton Verney, Warwickshire (England) |
|
| Pastels from the Stedelijk Museum - Van Gogh Museum, Amsterdam |
|
| The Triton Collection - Gemeentemuseum Den Haag, The Hague |
| |
| Capolavori del Guggenheim: il grande collezionismo da Renoir a Warhol - Scuderie del Quirinale, Rome |
|
| Von Paul Gauguin bis Imi Knoebel. Werke aus der Hilti art foundation - Kunstmuseum Liechtenstein, Vaduz |
|
| Into The Unknown - Abstraction From The Collection - MOCA Grand Avenue, Los Angeles, CA |
| |
| Figure & Ground - Works on Paper by Dutch Masters - Crawford Municipal Art Gallery, Cork |
2004
|
| Archiskulptur - Foundation Beyeler, Riehen |
| |
| Il Cubismo. Rivoluzione e tradizione - Palazzo dei Diamanti, Ferrara (FE) |
| |
| Arte & Architettura. 1900 - 2000 - Palazzo Ducale, Genoa |
|
| Sons & Lumičres: Une histoire du son dans l'art du XXe sičcle - Centre Pompidou - Musée National d´Art Moderne, Paris |
|
| The Flower as Image - Louisiana Museum of Modern Art, Humlebćk |
|
| Mexique-Europe, Allers-Retours, 1910-1960 - Musée d'art moderne Lille métropole, Villeneuve d'Ascq |
| |
| Contre-Images - Carré d´art - Musée d´art contemporain de Nîmes, Nîmes |
|
| Munch, Nolde, Beckmann... Private Kunstschätze aus Süddeutschland - Staatsgalerie Stuttgart, Stuttgart |
|
| International Modern Art - Tate Liverpool, Liverpool (England) |
| |
| Mondrian to Ryman - The Abstract Impulse - Solomon R. Guggenheim Museum, New York City, NY |
|
| Van Gogh to Mondrian - Modern Art from the Kröller-Müller Museum - Seattle Art Museum, Seattle, WA |
|
| Masterpieces from the National Museum in Belgrade - Gemeentemuseum Den Haag, The Hague |
| |
| 25 Jahre Wilhelm-Hack-Museum - 25 Jahre Sammeln - Wilhelm Hack Museum, Ludwigshafen |
| |
| Modern Means: Continuity and Change in Art from 1880 to the Present - Mori Art Museum, Tokyo |
| |
| Van Mondriaan tot Willink. Architectuur Schilderkunst Beeldhouwkunst 1926-1930 - Museum voor Moderne Kunst Arnhem - MMKA, Arnhem |
|
| Das MoMA in Berlin. Meisterwerke aus dem Museum of Modern Art, New York - Neue Nationalgalerie, Berlin |
| |
| Picasso to Pollock - Modern Masterpieces from the Wadsworth Atheneum Museum of A - Orange County Museum of Art, Newport Beach |
|
| Shanghai Art Museum: Encounters with Modernism - Stedelijk Museum Amsterdam, Amsterdam |
2003
| |
| Mondrian + Malewitsch - in der Mitte der Sammlung - Foundation Beyeler, Riehen |
|
| The Spirit of White - Galerie Beyeler, Basel |
|
| The Heroic Century: The Museum of Modern Art Masterpieces, 200 Paintings & Sculp - MFAH - Museum of Fine Arts Houston, Houston, TX |
|
| In Pursuit of the Absolute - The Menil Collection, Houston, TX |
| |
| From Picasso to Pollock - Classics of Modern Art - Solomon R. Guggenheim Museum, New York City, NY |
| |
| Dust Memories - SI Swiss Institute, New York City, NY |
| |
| Espíritu de Modernidad - De Goya a Giacometti - Fundación Juan March, Madrid |
2002
| |
| In Collection - Stedelijk Museum Amsterdam, Amsterdam |
|
| After the Beginning and Before the End - Instruction Drawings - MIT List Visual Arts Center, Cambridge, MA |
| |
| La Culture Pour Vivre - Centre Pompidou - Musée National d´Art Moderne, Paris |
| |
| Art through the ages - - Guggenheim Hermitage Museum, Las Vegas, NV (closed) |
|
| To Be Looked At: Painting and Sculpture from the Collection - MoMA - Museum of Modern Art, New York City, NY |
|
| Die Geburt der Moderne: Von der Schule von Barbizon bis zum Konstruktivismus Meisterwerke aus dem Nationalmuseum Belgrad - Wien Museum Karlsplatz, Vienna |
| |
| Minimal art and Mondriaan - Gemeentemuseum Den Haag, The Hague |
2001
| |
| Selected Landscapes - Barbara Mathes Gallery, New York City, NY |
|
| Monets Vermächtnis - Serie - Ordnung und Obsession - Hamburger Kunsthalle, Hamburg |
| |
| El Arte Abstracto y la Galería Denise René - Centro Atlántico de Arte Moderno (CAAM), Las Palmas de Gran Canaria |
| |
| Corot to Picasso - Cantor Arts Center at Stanford University, Stanford, CA |
|
| Minimalismos. Un signo de los tiempos - Museo Nacional Centro de Arte Reina Sofía MNCARS, Madrid |
| |
| Amadeo Souza-Cardoso / Piet Mondrian - Museu Serralves - Museu de Arte Contemporânea, Porto |
| |
| Light and Movement of the Century Abstract Art - Gallery Hyundai, Seoul |
| |
| Ornament und Abstraktion - Foundation Beyeler, Riehen |
| |
| Classics - Galerie Beyeler, Basel |
|
| Weiss - Museum für Gegenwartskunst - Emanuel Hoffmann-Stiftung, Basel |
2000
|
| L'école de Paris, 1904-1929 - La part de l'Autre - Musée d´Art Moderne de la Ville de Paris - MAM/ARC, Paris |
| |
| Vom Sinn für das Wesentliche; Erwerbungen der Ära Baumann - Kunsthaus Zürich, Zurich |
| |
| Van Gogh to Mondrian - Dutch Works on Paper - MFA - Museum of Fine Arts, Boston, Boston, MA |
| |
| Art concret - Espace de l’art concret, Mouans Sartoux |
| |
| Aspect - Positions - 50 Years of Art in Central Europe 1949-99 - Ludwig Museum - Museum of Contemporary Art - Budapest, Budapest |
1999
| |
| Cézanne und die Moderne - Foundation Beyeler, Riehen |
| |
| Petits Formats - Yoshii Gallery, New York City, NY |
1998
| |
| Magie der Bäume - Foundation Beyeler, Riehen |
|
| A Choice from the Collection - Stedelijk Van Abbemuseum, Eindhoven |
| |
| Ferdinand Hodler - Piet Mondrian - Eine Begegnung - Aargauer Kunsthaus, Aarau |
| |
| Modern Masters: The Last Decade at Janis - - Sidney Janis Gallery, New York City, NY (closed) |
|
| Exhibition of the century - Wellington City Gallery, Wellington |
| |
| Das Jahrhundert der Künstlerischen Freiheit - Wiener Secession, Vienna |
1997
| |
| Mondrian/Reinhardt: Influence and Affinity - PaceWildenstein - 32 East 57th Street, New York City, NY |
| |
| Encounters With Modern Art: Works from the Rothschild Family Collections - San Francisco Museum of Modern Art - SFMOMA, San Francisco, CA |
1995
| |
| 46th International Art Exhibition Venice Biennale / Biennale di Venezia - La Biennale di Venezia, Venice |
1994
| |
| 22° Bienal de Săo Paulo - Bienal de Săo Paulo, Săo Paulo |
1993
| |
| Azur - Fondation Cartier pour l'art contemporain, Paris |
| |
| Wege der Moderne- Die Sammlung Beyeler - Neue Nationalgalerie, Berlin |
1992
| |
| The Non-Objective World - Kettle's Yard, Cambridge, Cambridgeshire (England) |
1989
| |
| 60 Meisterwerke aus der Solomon R. Gugenheim Foundation - Neue Nationalgalerie, Berlin |
1986
| |
| Pioneers of Abstract Art from the Thyssen-Bornemisza Collection - - Galerie Gmurzynska - Köln, Cologne (closed, 2006) |
1984
| |
| Abstract Painting and Sculpture in America 1927-1944 - Whitney Museum of American Art, New York City, NY |
| |
| Abstract Painting and Sculpture in America 1927-1944 - The Minneapolis Institute of Arts, Minneapolis, MN |
| |
| El Arte de Siglo XX en un museo Holandes - Fundación Juan March, Madrid |
| |
| Abstract Painting and Sculpture in America 1927-1944 - San Francisco Museum of Modern Art - SFMOMA, San Francisco, CA |
1983
| |
| Abstract Painting and Sculpture in America 1927-1944 - Carnegie Museum of Art, Pittsburg, PA |
1978
| |
| GRIDS Format and Image in 20th Century Art - PaceWildenstein - 32 East 57th Street, New York City, NY |
1966
| |
| Von Impressionismus zum Bauhaus - Kunstverein in Hamburg, Hamburg |
1964
| |
| documenta 3 - Documenta, Kassel |
1959
| |
| documenta 2 - Documenta, Kassel |
1957
| |
| The Sphere of Mondrian - Contemporary Arts Museum Houston, Houston, TX |
1956
| |
| Cubism 1910 - 1912 - - Sidney Janis Gallery, New York City, NY (closed) |
1955
| |
| documenta 1 - Documenta, Kassel |
1953
| |
| 5th Anniversary Exhibition - - Sidney Janis Gallery, New York City, NY (closed) |
1928
| |
| Mondrian, Eekman - Galerie Jeanne Bucher, Paris |
1913
| |
| Erster Deutscher Herbstsalon - - Galerie Der Sturm, Berlin (closed, 1932) |
| Dealer Directory 17 |
France
Germany
| | Galerie Berndt Kunsthandels GmbH, Cologne
|
Japan
Netherlands
Switzerland
| | Galerie Gmurzynska - St. Moritz, St. Moritz
|
| | Galerie Gmurzynska - Zug, Zug
|
| | Galerie Gmurzynska - Zürich, Zurich
|
United Kingdom
| | Thomas Gibson Fine Art, London (England)
|
| | Lefevre Fine Art Limited, London (England)
|
USA
| | Richard Gray Gallery - Chicago, Chicago, IL
|
| | Acquavella Galleries, Inc., New York City, NY
|
| | Richard Gray Gallery - New York, New York City, NY
|
| | Barbara Mathes Gallery, New York City, NY
|
| | Modernism Fine Arts, New York City, NY
|
Public collections 51
Argentina
| | MAMBA - Museo de Arte Moderno de Buenos Aires, Buenos Aires
|
Austria
| | Museum Moderner Kunst Stiftung Ludwig - MUMOK , Vienna
|
France
| | Musée Maurice Denis, Saint Germain en Laye
|
Germany
| | K20 Kunstsammlung Nordrhein-Westfalen - am Grabbeplatz, Dusseldorf
|
| | Museum Folkwang Essen, Essen
|
| | Wilhelm Hack Museum, Ludwigshafen
|
| | Staatsgalerie Stuttgart, Stuttgart
|
Greece
| | National Art Gallery - Alexandros Soutzos Museum, Athens
|
Italy
| | Peggy Guggenheim Collection, Venice
|
| | Ca´la Ghironda - Museo d´Arte Classica, Moderna e Contemporanea, Zola Predosa (BO)
|
Japan
| | Bridgestone Museum of Art, Tokyo
|
Netherlands
| | Het Mondriaanhuis, Amersfoort
|
| | Stedelijk Museum Amsterdam, Amsterdam
|
| | Stedelijk Van Abbemuseum, Eindhoven
|
| | Frans Hals Museum, Haarlem
|
| | Kröller-Müller museum, Otterlo
|
| | Gemeentemuseum Den Haag, The Hague
|
Norway
| | Bergen Kunstmuseum, Bergen
|
Portugal
| | Berardo Museum - Collection of Modern and Contemporary Art, Lisbon
|
Spain
| | Museo Thyssen-Bornemisza, Madrid
|
Sweden
| | Moderna Museet, Stockholm
|
Switzerland
| | Schaulager, Münchenstein / Basel
|
| | Foundation Beyeler, Riehen
|
| | Kunstmuseum Winterthur, Winterthur
|
United Kingdom
| | Tate Liverpool, Liverpool (England)
|
| | Tate Britain, London (England)
|
| | Tate Modern, London (England)
|
USA
| | Georgia Museum of Art, Athens, GA
|
| | The Art Institute of Chicago, Chicago, IL
|
| | Dallas Museum of Art, Dallas, TX
|
| | Kimbell Art Museum, Fort Worth, TX
|
| | MFAH - Museum of Fine Arts Houston, Houston, TX
|
| | MOCA Grand Avenue, Los Angeles, CA
|
| | Yale University Art Gallery, New Haven, CT
|
| | Solomon R. Guggenheim Museum, New York City, NY
|
| | MoMA - Museum of Modern Art, New York City, NY
|
| | The Allen Memorial Art Museum, Oberlin, OH
|
| | Saint Louis Art Museum, Saint Louis, MO
|
| | San Francisco Museum of Modern Art - SFMOMA, San Francisco, CA
|
| | Toledo Museum of Art, Toledo, OH
|
| | Kreeger Museum, Washington, DC
|
| | The National Gallery of Art, Washington, DC
|
| | The Phillips Collection, Washington, DC
|
Catalogs
|
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