The work from Piet Mondrian on the next page predates his more popular imagery that we’ve already looked at.
There is a lot to see in this last detail: underneath the stripe, you can see where Mondrian carefully edged his brush up to the stripe, overlapping some horizontal marks he'd made freehand.
In other parts of the painting, Mondrian clearly painted freehand, with no paper to guide him.
Specifically, one of the Mondrian paintings in the collection of the Art Institute of Chicago, across the street from where I work.
有些精英的确离开了：蒙德里安（Mondrian）、达利（Dali）、杜尚（Duchamp）、夏加尔（Chagall）和莱热（Léger）等一些人通过种种渠道去了纽约。
You don't see any of this from two or three feet away, and it's clear Mondrian expected his viewers to stand back so they wouldn't see things like the sloppy way he truncated the ends of his stripes.
And what about artists such as Mondrian, whose paintings consist exclusively of horizontal and vertical lines encasing blocks of colour?
In this piece, Mondrian is attempting to convey the energy of a tree through the use of chaotic curved lines.
The page after features a popular work by Piet Mondrian, which represents a very pure use of horizontal and vertical lines.
The two were first spotted getting cozy Friday night at los Angeles's Mondrian Hotel, where they laughed and talked the night away, finally closing down the bar, says the source.
Some painters prefer the old, poisonous solvents and pigments to the new healthier materials. he is painting freehand, without a paper strip to help him, because he thought that is what Mondrian did.