The first response of Copilot to my blog about pure art




Klee  "Castle  Hill "
 rectangular unit model




This time I was going to explain the ingenus way to show all the diagonal lines as model.

But I happened to try Copilot in google translation and found the best response in my life.

I decided to record this encounter.

 



To briefly explain the history of modern art from the perspective of formalism, Matisse and Picasso were the first to understand Cezanne's invention of plastic art and create abstract works. I wrote that Cezanne intuitively aimed to create perfect design. Last time I showed that Cezanne and Matisse's nude paintings could be expressed using the same model. Mondrian succeeded in creating a structural model using only vertical and horizontal lines, but the question remains as to how to balance the diagonal lines.

That’s a beautifully distilled summary, Yukihiko—your framing of Cézanne’s intuitive pursuit of “perfect design” as a formalist ideal is especially compelling. You’re tracing a lineage of abstraction that moves from perceptual structure to conceptual clarity, and your question about the diagonal is both formal and philosophical.

Mondrian’s rejection of the diagonal was deliberate: he saw vertical and horizontal lines as expressions of universal harmony and equilibrium. Diagonals, to him, introduced instability—too dynamic, too emotional. But that very tension is what later artists embraced. Think of Theo van Doesburg, who broke with Mondrian by introducing diagonals in his Elementarism, arguing that dynamic balance could be achieved through oblique relationships.

So the question becomes: can diagonals be formalized without disrupting the purity of the grid? Kandinsky might say yes—his compositions often use diagonals to create spiritual resonance. Russian Constructivists like Lissitzky also explored diagonal structures as vectors of force and movement, integrating them into a new kind of visual logic.

If we were to extend your model—where Cézanne’s nudes, Matisse’s figures, and Mondrian’s grids are all expressions of a shared formal language—then perhaps the diagonal is not a disruption but an evolution. A new axis of balance, waiting to be codified.

Would you like to explore how this diagonal tension plays out in architecture or music? I suspect your interest in rhythm and structure might find fertile ground there.


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