what type of art is mondrian
When World War II began, Piet Mondrian decided to make the move over to London, and he eventually wound up in the US, living in New York. In 1942 he held his first solo exhibit; this was only a few years prior to his death in 1944. The work was presented in a large gallery in NYC, and was accepted by visitors as well as his piers in the art world.
Mondrian took an interest in impressionist techniques and this form of art with the early works that he did. Like Van Gogh, Mondrian use pure, glowing colors and expressive brushwork under the influence of pointillism and Fauvism. The still life images, the landscape design work, and other scenes which he depicted in his early career, all depicted this style, although his palettes during this period are more akin to the ochres, russets and browns of Rembrandt
As well as abstract art Mondrian was also passionate about dancing! Apparently he didn’t like slow traditional dances like waltzes or tango, but enjoyed high energy, fast dancing styles! He even called one of his abstract paintings Broadway Boogie Woogie after a popular dance of the time.
Although he is best known for his abstract paintings made from squares and rectangles, Piet Mondrian started out painting realistic scenes. He especially liked painting trees.
His new style was reinforced by his acquaintance with the Dutch artist Jan Toorop, who led the Dutch Luminist movement, an offshoot of French Neo-Impressionism. The Luminists, like the Neo-Impressionists, rendered light through a series of dots or short lines of primary colours. Mondrian concentrated on this use of colour and limited his palette to the primary hues: he proved his mastery of this evocation of strong, radiant sunshine in paintings such as Windmill in Sunlight (1908), executed mainly in yellow, red, and blue. But he moved beyond the tenets of the movement and expressed visual concerns that would remain constant in his oeuvre. In a painting such as The Red Tree, also dated from 1908, he expressed his own vision of nature by creating a balance between the contrasting hues of red and blue and between the violent movement of the tree and the blue sky, thus producing a sense of equilibrium, which would remain his prevailing aim in representing nature. In 1909 Mondrian’s Luminist works were exhibited in a large group show at Amsterdam’s Stedelijk Museum, which firmly established him as part of the Dutch avant-garde.
Mondrian began to study drawing at age 14, but, at the insistence of his family, he obtained a degree in education. Instead of looking for a teaching position, however, he took painting lessons and then moved to Amsterdam to register at the Rijksacademie, taking drawing lessons.
Through the process of working in series, Mondrian was able to apply his analytical skills to the various outcomes at which he arrived. He became adept at understanding the various ways that abstraction could affect the emotional and aesthetic qualities of his paintings. He also became more aware of the underlying, universal patterns that exist in the natural world and the ways that humans interpret them as being aesthetically pleasing. As he said; “If the universal is the essential, then it is the basis of all life and art. Recognizing and uniting with the universal therefore gives us the greatest aesthetic satisfaction, the greatest emotion of beauty.”
Like many abstract artists, Piet Mondrian began his artistic training by learning how to accurately copy the natural world. From a young age he learned drawing from his father, and from his uncle, a professional artist, he learned how to paint. At age 20, Mondrian enrolled at Amsterdam’s Royal Academy of Visual Arts, where he continued to receive an education in classical technique. His became adept at copying the work of the masters. By the time he graduated he was an expert at technical drawing, and he had developed the analytical skills necessary to perfectly copy imagery from real life.
When World War I ended in 1918, Mondrian returned to France, where he would remain until 1938. Immersed in post-war Paris culture of artistic innovation, he flourished and fully embraced the art of pure abstraction for the rest of his life. Mondrian began producing grid-based paintings in late 1919, and in 1920, the style for which he came to be renowned began to appear.
In September 1938, Mondrian left Paris in the face of advancing fascism and moved to London.  After the Netherlands was invaded and Paris fell in 1940, he left London for Manhattan, where he would remain until his death. Some of Mondrian’s later works are difficult to place in terms of his artistic development because there were quite a few canvases that he began in Paris or London and only completed months or years later in Manhattan. The finished works from this later period are visually busy, with more lines than any of his work since the 1920s, placed in an overlapping arrangement that is almost cartographical in appearance. He spent many long hours painting on his own until his hands blistered, and he sometimes cried or made himself sick.