Piet Mondrian, 1872-1944 Mondrian 1942 in New York 
The mill under the sun, shows Mondrian’s confrontation with this classical hollandaise theme. The painting reflects the influences of the “fauvism”, and Van Gogh’s painting principles. The mill, appears against the light painted by several superimpositions of paintbrushes. The use of the “pointillism technique” allows Mondrian to dematerialize the form, and the utilization of “fauvism composition” to allow him reach new levels of abstract reality. The Mill Under the Sun 1908
The red tree, belongs to a series of paintings with trees. The red color of the stem, the violet and red of the branches, and the blue of the background, which allowed Mondrian to create a sense of space, without using the traditional elements of the perspective. He positioned the theme in the center of the painting, and used only two or three color graduations on the large surfaces.  The Red Tree, 1908
With the representation of the ”three stages of knowledge”, Mondrian shows his concern with religious and moral themes. In 1909 he became an active member of the “Theosophische Gesellschaft”. Evolution, 1910-1911
In this painting, the theme is solely a pretext for the structural construction of horizontal and vertical elements that start and end on curved lines, building a bi-dimensional surface.  Stillleben mit dem Ingwertopf II, 1912
The blooming apple tree initially is an example of cubism. The painting denies all figurative influences - it depicts the significant structure of the represented object. The Blooming Apple Tree, 1912
Mondrian uses this rectangular and vertical paintings to document his personal interpretation of cubism. He uses little accent, vertical and horizontal elements, cutting each other, and balanced by curved lines.  Ovale Komposition, 1914
The origin of this painting is a façade, that has been changed while evolving from reality to a abstract motive. The surface is structured, based on a delicate equilibrium of vertical and horizontal lines, with a few curves has guaranty of wholeness. Komposition Nr. 6, 1914
This composition is not limited on the center of the frame. The continuity and cuts of the surfaces painted on the perimeter show as that the painting goes further than his limits, over the frame.
 
 
Komposition III mit Farbflächen, 1917
The theoretical concepts, the “Theosophische Konzepte”, guide Mondrian to an abstract language. In this language he was able to develop the complementary opposition of masculine and feminine, active and passive, spirit and mater, in search of harmony, and a specific pictorial equilibrium. He did this, by using: the rectangle, primary colors, and precision. Composition with lines, 1917
This is a composition based on Mondrian’s own language: black lines, rectangles, squares, and primary colors displaced in space. These are the basic elements of the “neoplasticism” vocabulary. Farbkomposition A, 1917
The pictorial language has been redefined: there is no place or object as subject, just a space for formal equilibrium, which evolved on the surface giving abstract meaning to the painting. Komposition im Quadrat mit grauen Linien, 1918
A checkered surface, equal rectangles, precise encounter of color, and tracing lines - Mondrian’s special sensibility is shown by the distribution of the blue, red, yellow and gray surfaces. Komposition mit hellfarbigem Dammbrett, 1919
This composition, from 1922, is an example of “neoplasticism” with three primary colors and two pictorial orientations. The elements are placed in asymmetrical order and dynamic equilibrium. The complementary equilibrium allows Mondrian to archive an “unbalanced equilibrium”.
 
 
Composition, 1922
Mondrian did apply his theories to real space. The painter’s studio, in Paris, at 26 Rue du Depart was a big irregular space, that he painted white, to be able to cover surfaces with colored canvases to build a composition similar to his paintings.
 
Mondrians Atelier in Paris, 1926
The black lines evolved in to a grid. This Mondrian period is called, the “tragic period”. It evoked the tragic of the catastrophicall European and then Second World War that hit mankind. Rythms with black lines 1935-1942
The “New York City” painting of 1942 shows the positive influence that metropolis left on Mondrian, he rejuvenated and renewed his theoretical position; the rectangular surfaces of primary colors, the orthogonal structures and the black areas are gone. In their place he develops a three dimensional grid of red, blue and yellow lines, of great abstract quality. This painting represents the turning point of Mondrian, in relation with the evolution started in 1920’s. Dwelling in New York made Mondrian realize the triumph of human kind over the struggles of nature. New York City I, 1942

With this large square canvas, he represents movement, in a pulsing geometrical order. These create a spatial structure with yellow lines that are interrupted with blue, red, and gray squares. They give the impression of a fast rhythmical “staccato”, the “tempo”, the timing of the quarters of the “Boogie Woogie” jazz that gives the name to the painting. Red, blue, and yellow surfaces are added to the painting, reaching the point where he managed a total equilibrium without using black color.
Broadway Boogie-Woogie, 1942-1943