“To approach the spiritual in art one will make as little use as possible of reality, because reality is opposed to the spiritual.,”
Piet Mondrian gravitated towards abstraction believing that painting could simultaneously embody nature and spirituality. As a result he began to pare down his paintings, reducing panoramas to broad sweeps of sky, water and land and minimising detail. As he noted: “The emotion of beauty is always obscured by the appearance of the object.” He also started to keep direct sunlight out of the landscapes, preferring the charged atmospherics of twilight, when the temporal and the spiritual start to blend.
When Mondrian encountered cubism he finally saw the way to break with representation altogether. Unlike Braque and Picasso, however, he was interested not in showing the third dimension but in using “lines and colour combinations on a flat surface, in order to express general beauty with the utmost awareness”.