what was piet mondrian best known art
To approach the spiritual in art, one will make as little use as possible of reality, because reality is opposed to the spiritual.”
In addition to being a celebrated artist, and founder of different art groups and reforms, Piet Mondrian also wrote a number of pieces during his career. He had many of these pieces published. His writings dealt with neoplasticism and how the art form had changed, and with abstract work in general. He published a number of theoretical texts during the course of his life, and they were published in various magazines and other art articles, during the course of his career.
In 1917 Piet Mondrian cofounded the De Stijl movement, which rejected visually perceived reality as subject matter and restricted form to the most basic elements. Such works as Composition with Red, Blue, and Yellow (c. 1930) reflect this criteria. Mondrian’s late masterpieces, including Broadway Boogie Woogie (1942–43), replaced black lines with coloured bands.
Mondrian was determined to become a painter, but at the insistence of his family he first obtained a degree in education; by 1892 he was qualified to teach drawing in secondary schools. That same year, instead of looking for a teaching position, he took painting lessons from a painter in a small town not far from Winterswijk, where his family resided, and then moved to Amsterdam to register at the Rijksacademie. He became a member of the art society Kunstliefde (“Art Lovers”) in Utrecht, where his first paintings were exhibited in 1893, and in the following year he joined the two local artist societies in Amsterdam. During this period he continued to attend evening courses at the academy for drawing, impressing his professors with his self-discipline and effort. In 1897 he exhibited a second time.
As the years progressed, lines began to take precedence over forms in Mondrian’s paintings. In the 1930s, he began to use thinner lines and double lines more frequently, punctuated with a few small colored forms, if any at all. Double lines particularly excited Mondrian, for he believed they offered his paintings a new dynamism which he was eager to explore. The introduction of the double line in his work was influenced by the work of his friend and contemporary Marlow Moss. 
At the age of 71 in the fall of 1943, Mondrian moved into his second and final Manhattan studio at 15 East 59th Street, and set about to recreate the environment he had learned over the years was most congenial to his modest way of life and most stimulating to his art. He painted the high walls the same off-white he used on his easel and on the seats, tables and storage cases he designed and fashioned meticulously from discarded orange and apple-crates. He glossed the top of a white metal stool in the same brilliant primary red he applied to the cardboard sheath he made for the radio-phonograph that spilled forth his beloved jazz from well-traveled records. Visitors to this last studio seldom saw more than one or two new canvases, but found, often to their astonishment, that eight large compositions of colored bits of paper he had tacked and re-tacked to the walls in ever-changing relationships constituted together an environment that, paradoxically and simultaneously, was both kinetic and serene, stimulating and restful. It was the best space, Mondrian said, that he had inhabited. He was there for only a few months, as he died in February 1944.
Mondrian in his Paris studio in 1933 with Lozenge Composition with Four Yellow Lines, 1933 and Composition with Double Lines and Yellow, 1933 © 2014 Mondrian/Holtzman Trust c/o HCR International USA
Squares, straight lines. and dance moves! Explore the abstract art of Piet Mondrian
Oil on canvas – Gemeentemuseum, The Hague
This canvas presents the viewer with the culmination in Mondrian’s life-long pursuit of conveying the order that underlies the natural world through purely abstract forms on a flat picture plane. Broadening the use of his basic pictorial vocabulary of lines, squares and primary colors, the black grid has been replaced by lines of color interspersed with blocks of solid color. This, and his other late abstract paintings, show a new, revitalized energy that was directly inspired by the vitality of New York City and the tempo of jazz music. The asymmetrical distribution of the brightly colored squares within the yellow lines echoes the varied pace of life in the bustling metropolis, one can almost see the people hurrying down the sidewalk as taxi cabs hustle from stop-light to stop-light. Broadway Boogie-Woogie not only alludes to life within the city, but also heralds New York’s developing role as the new center of modern art after World War II. Mondrian’s last complete painting demonstrates his continued stylistic innovation while remaining true to his theories and format.