Mondrian’s masterpiece is a reminder that art depends on detail| Roadsleeper.com

How can thousands of people not realize that the work of art is wrong? That’s perhaps the most obvious question to ask in the story of Dutch artist Piet Mondrian’s masterpiece hanging for 75 years.

The error was revealed by Susanne Meyer-Büser, a curator who noticed during research for the exhibition that there was something wrong with the piece, called. New York City I. “As soon as I explained it to the other guardians, we realized that it was very clear. I am 100% sure that the picture is wrong,” he said. Caretaker.

Before lashing out at uninformed photo enthusiasts, it’s important to point out that it was an easy mistake to make. Unlike many of Mondrian’s other works, New York City I, painted in 1941 and first exhibited in 1945, does not bear his signature; if there was no mistake.

No doubt this story will still evoke schadenfreude in anyone who rejects the popularity and astronomical prices of abstract art. But beyond the fun, there is another message about the nature of art itself.

When esthetes gathered at Sotheby’s in 2018 to see the auction of Girl with Balloons by Banksy, they were surprised to see the piece self-destruct when bought, the canvas passing through a shredder built by the artist. Once the performance was over, it became clear that the image had taken on a new meaning – not to mention an even bigger price tag. The whole story – the opinion of the collectors, the joke, the new standard – was a powerful work of art.

There have been cases where artists insist that their work be hung “above” to create a certain experience. Drawing from a perspective view is also an ancient technique used to connect different parts of the brain. It is thought that Kandinsky, a pioneer of abstract art, was inspired to create at home Updates after being struck in his studio in Munich by the “extraordinary beauty, shining with an inner light” of an unusual painting, he then realized that one of his works was above.

The story of New York City I it’s a message about the art itself. It’s a reminder that art has no right answer; it means something different not only to different people, but also to different times, according to our knowledge. Enduring works of art are often completely transformed over the years – or they may even be torn to pieces but still live on.

Mondrian’s painting will now convey new meanings, but the experiences of those who saw it earlier are undoubtedly more important, as they will not be available to those who see it today. At the end of the poem, New York City I it cannot be turned the “correct” way around, because the adhesive tapes used on the canvas have weakened over the years and thus changing the pull of gravity can damage the artwork. There is something nice about knowing that it will continue to be experienced, imperfect, without pretension.

[See also: How horror changed modern art]