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House on the Gein, 1741 by Piet Mondrian

House on the Gein, 1741

Piet Mondrian·1900

Historical Context

House on the Gein, 1741 takes its unusual subtitle — identifying a date carved or marked on the building itself — from a farmhouse beside the Gein river that bore the inscription '1741', marking its eighteenth-century construction. Mondrian was drawn to this particular building repeatedly, and the inclusion of the historical date in the title signals his interest in connecting his observation of the present landscape to its historical layers. This was a house with visible duration: it had stood for over 150 years when he painted it in 1900, and its survival through generations of agricultural life gave it a weight beyond its visual appearance.

Technical Analysis

The building is the composition's undisputed centre, rendered with more attention to architectural detail than many of his farmhouse subjects. The Gein's water in the foreground reflects the house and sky in characteristically still Dutch waterway light. The surrounding vegetation is handled loosely to keep focus on the building and its historical inscription.

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Quick Facts

Medium
Oil on canvas
Era
Post-Impressionism
Style
Post-Impressionism
Genre
Architectural
Location
,
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More by Piet Mondrian

Oostzijdse Mill along the River Gein by Moonlight by Piet Mondrian

Oostzijdse Mill along the River Gein by Moonlight

Piet Mondrian·1903

Mill at Heeswijk by Piet Mondrian

Mill at Heeswijk

Piet Mondrian·1904

Brabants boerenerf by Piet Mondrian

Brabants boerenerf

Piet Mondrian·1904

Self-portrait by Piet Mondrian

Self-portrait

Piet Mondrian·1900

More from the Post-Impressionism Period

Rocks and Trees (Rochers et arbres) by Paul Cézanne

Rocks and Trees (Rochers et arbres)

Paul Cézanne·1904

Bathers (Baigneurs) by Paul Cézanne

Bathers (Baigneurs)

Paul Cézanne·1903

Fruit on a Table (Fruits sur la table) by Paul Cézanne

Fruit on a Table (Fruits sur la table)

Paul Cézanne·1891

Gardener (Le Jardinier) by Paul Cézanne

Gardener (Le Jardinier)

Paul Cézanne·1885