Piet Mondrian in the context of "Museum of Contemporary Art of Caracas"

Hilma af Klint (Swedish pronunciation: [ˈhɪ̂lːma ˈɑːv ˈklɪnːt]; 26 October 1862 – 21 October 1944) was a Swedish artist and mystic whose paintings are considered to be among the first major abstract works in Western art history. A considerable body of her work predates the first purely abstract compositions by Kandinsky, Malevich, and Mondrian. She belonged to a group called "The Five", a circle of women inspired by Theosophy who shared a belief in the importance of trying to contact the "High Masters", often through séances. Her paintings, which sometimes resemble diagrams, were a visual representation of complex spiritual ideas.

The Kunstmuseum Den Haag is an art museum in The Hague in the Netherlands, founded in 1866 as the Museum voor Moderne Kunst. Later, until 1998, it was known as Haags Gemeentemuseum, and until the end of September 2019 as Gemeentemuseum Den Haag. It has a collection of around 165,000 works, over many different forms of art. In particular, the Kunstmuseum is renowned for its large Mondrian collection, the largest in the world. Mondrian's last work, Victory Boogie-Woogie, is on display at the museum.

The current museum building was constructed between 1931 and 1935, designed by the Dutch architect H.P. Berlage.

De Stijl (/də ˈstaɪl/, Dutch: [də ˈstɛil]; 'The Style') was a Dutch art movement founded in 1917 by a group of artists and architects based in Leiden (Theo van Doesburg, J.J.P. Oud), Voorburg (Vilmos Huszár, Jan Wils) and Laren (Piet Mondrian, Bart van der Leck).

De Stijl was also the name of a journal – published by the Dutch painter, designer, writer, poet and critic Theo van Doesburg – that propagated the group's theories. Along with van Doesburg, the group's principal members were the painters Piet Mondrian, Vilmos Huszár, Bart van der Leck, the architects J.J.P. Oud, Jan Wils, Gerrit Rietveld, Robert van 't Hoff, the sculptor and painter Georges Vantongerloo, and the poet and writer Antony Kok.

Mathematics and art are related in a variety of ways. Mathematics has itself been described as an art motivated by beauty. Mathematics can be discerned in arts such as music, dance, painting, architecture, sculpture, and textiles. This article focuses, however, on mathematics in the visual arts.

Mathematics and art have a long historical relationship. Artists have used mathematics since the 4th century BC when the Greek sculptor Polykleitos wrote his Canon, prescribing proportions conjectured to have been based on the ratio 1:√2 for the ideal male nude. Persistent popular claims have been made for the use of the golden ratio in ancient art and architecture, without reliable evidence. In the Italian Renaissance, Luca Pacioli wrote the influential treatise De divina proportione (1509), illustrated with woodcuts by Leonardo da Vinci, on the use of the golden ratio in art. Another Italian painter, Piero della Francesca, developed Euclid's ideas on perspective in treatises such as De Prospectiva Pingendi, and in his paintings. The engraver Albrecht Dürer made many references to mathematics in his work Melencolia I. In modern times, the graphic artist M. C. Escher made intensive use of tessellation and hyperbolic geometry, with the help of the mathematician H. S. M. Coxeter, while the De Stijl movement led by Theo van Doesburg and Piet Mondrian explicitly embraced geometrical forms. Mathematics has inspired textile arts such as quilting, knitting, cross-stitch, crochet, embroidery, weaving, Turkish and other carpet-making, as well as kilim. In Islamic art, symmetries are evident in forms as varied as Persian girih and Moroccan zellige tilework, Mughal jali pierced stone screens, and widespread muqarnas vaulting.

The grid format has been an important component of avant-garde visual art throughout the 20th century and into the 21st century. Early appearances of the grid format include work by Piet Mondrian, Kazimir Malevich and other artists belonging to the De Stijl and Constructivist movements. The grid format also features prominently in minimalist and conceptual art of the 60's and 70's. The art theorist Rosalind Krauss writes,

"In the temporal dimension, the grid is an emblem of modernity by being just that: the form that is ubiquitous in the art of our century, while appearing nowhere, nowhere at all, in the art of the last one. In that great chain of reactions by which modernism was born out of the efforts of the nineteenth century, one final shift resulted in breaking the chain. By "discovering" the grid, cubism, de Stijl, Mondrian, Malevich . .. landed in a place that was out of reach of everything that went before. Which is to say, they landed in the present, and everything else was declared to be the past."