Piet Mondrian is recognized as the purest and most methodical of the early abstractionists. He radically simplified the elements of his artwork in an effort to reflect what he believed to be the order underlying the visible world. In his ground breaking paintings of the 1920s, Mondrian strictly limited his color palette to black, white, and the three primary colors: red, yellow, and blue. Mondrian's use of asymmetrical balance and a simplified pictorial vocabulary were crucial in the development of modern art. His iconic abstract works remain influential in design and familiar in popular culture.

• A theorist and writer, Mondrian equated art with the spiritual. He simplified his work, searching to reveal the essence of the spiritual energy in the balance of forces that governs nature and the universe.
• Mondrian attempted to represent the world through vertical and horizontal lines which to him represented the two opposing forces: the positive and the negative, the dynamic and the static, the masculine and the feminine.
• Mondrian's singular vision is clearly demonstrated in the methodical progression of his artwork from traditional representation to complete abstraction. The paintings evolve logically and illustrate clear periods of influence art movements such as Luminism, Impressionism, and especially Cubism.
• Mondrian was a founding member of De Stijl, an influential Dutch art movement that advocated pure abstraction to express a utopian ideal of universal harmony.

Piet Mondrian, born Pieter Cornelis Mondriaan, grew up as the second of five children in a devoutly Calvinist home in central Holland. The arts and music were encouraged in his household. His father, the director of the local primary school, was an enthusiastic amateur artist who gave drawing lessons to his son, and Mondrian's uncle, Fritz Mondriaan, was an accomplished artist who taught his nephew to paint.

In 1892, Mondrian enrolled in the National Academy of Fine Arts in Amsterdam. His three years of academic training focused on drawing from the model, copying old masters and genre painting. In the following years, he would rely on these skills to support himself by producing scientific drawings and copies of museum paintings.

For Mondrian, art and philosophy were deeply intertwined. He was a prolific writer and theorist, and was drawn to spiritual and philosophical studies. In 1908, he joined the Theosophical Society, a spiritual organization with widespread influence in Europe that eventually connected to the New Age Movement of the 1960s and 1970s. Though he later parted from the group, Theosophy influenced Mondrian's utopian ideals which found expression in the balance and tension of form and color in his paintings.

"Always further," is how Mondrian termed his drive to transform his artwork. Starting in 1905, his traditional landscape compositions began to reveal a new sense of drama and light. Jan Toorop, a leading artist of Dutch Luminism, introduced Mondrian to the French Post-Impressionists. Mondrian's paintings changed dramatically as a result, integrating, for example, the bold color and brushwork of Van Gogh and the pointillist technique of Georges Seurat.

The influence of Cubism marked a turning point in Mondrian's career. He became familiar with the works of Picasso, Braque and others, and moved to Paris in 1912 which was, at the time, the thriving center of the avant-garde art world. Cubism gave Mondrian the structure to distill his landscapes to their essence: he made use of the Cubist grid structure, reducing his images of trees and buildings to a schematized framework. As in the painting The Gray Tree (1912), Mondrian temporarily adopted the Cubist muted grey and yellow/brown coloration. However, unlike the Cubists, Mondrian was not intending to create a sense of depth or volume, rather instead he wished to stress the flatness of the painting surface.

Mondrian was visiting in Holland in 1914 when World War I began. Unable to return to the Paris art scene for 5 years, his work continued to develop independently toward pure abstraction. Curved lines gradually disappeared from his paintings along with all references to objects or nature.

With artist and architect Theo van Doesburg, Mondrian founded the journal De Stijl in 1917. De Stijl, or "the style," was a movement among Dutch artists and architects that presented the ideal of total abstraction as a model for spiritual harmony and order. Mondrian termed the resulting artwork Neo-Plasticism, or the new plastic art. Elements in their paintings were limited to straight lines, right angles, 3 primary colors (red, blue, yellow) and 3 achromatic colors (grey, white, and black). The De Stijl movement proved to have a major international influence on architecture, art, typography and interior design.

In 1919, Mondrian moved back to Paris and was soon creating the iconic abstract paintings for which he is best known. Aiming for a pure mode of representation, he used only a few horizontal and vertical black lines with select blocks of primary color. In his paintings, the visual balance of color and form was intuitive, not formulaic. Representation was completely eliminated and there was no attempt to create the illusion of depth. The paintings of the 1920s were at the high point of this purity.

Prior to the start of World War II, Mondrian moved to London for two years before settling in New York City in 1940. Expanding his pictorial vocabulary, he introduced double lines, then color lines and finally the black grid was replaced with pulsating lines of color squares. His late paintings show a new energy, rhythm and complexity of composition such as in Broadway Boogie-Woogie (1943).

Devoted to his work, Mondrian's life reflected his art. He remained unmarried and lived simply with few possessions. He died of pneumonia in 1944 at the age of 71.

Piet Mondrian was a pioneering artist whose paintings and writings were essential in the development of 20th century modern and abstract art. His singular vision for a pure art is clearly revealed in the consistent development of his artwork toward complete abstraction. It is hard to judge if his goals of expressing univeral spiritual perfection were reached, but his work did become very popular and was much used in comercial design.


Below are Piet Mondrian's major influences, and the people and ideas that he influenced in turn.


"The emotion of beauty is always obscured by the appearance of the object. Therefore, the object must be eliminated from the picture."

"Every true artist has been inspired more by the beauty of lines and color and the relationships between them than by the concrete subject of the picture."

"To approach the spiritual in art, one will make as little use as possible of reality, because reality is opposed to the spiritual."

"I wish to approach truth as closely as is possible, and therefore I abstract everything until I arrive at the fundamental quality of objects."

"I don't want pictures, I want to find things out."