Kind: Replies
For my two cents worth, I really like the idea of integrating the response box into the content.
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Mondrian was caught up for much of his life in Theosophy, the anti-materialist mythos that was initiated in 1875, in New York, by the much travelled Russian occultist Helena Petrovna Blavatsky. Its pantheistic mysticism seemed to resonate with everything he craved in both art and life. Theosophy’s tenet of an ascent from the natural by way of the spiritual toward a union with the divine was right up Mondrian’s temperamental alley. He was most immersed from about 1908 to 1912, when he painted metaphysically supercharged flowers and frankly weird totemic figures. In the years that followed, he shrugged off the aspects of the movement that seemed pedantic and nebulous rather than liberating and practical, not to mention its mediumistic hocus-pocus, but he never regretted the influence. He remarked later, “One cannot call oneself an atheist without really having experienced some form of religion.” He kept painting flowers, however, with unfailing virtuosity but waning enthusiasm, as a stock-in-trade to support his experimentation with frontal, vibrant geometric patterning.