蒙德里安（Piet Mondrian, 1872-1944）的作品被視為抽象藝術的經典圖像，他常以垂直、水平的線條相互交錯，構成方形平面；或在菱形圖畫的外圍構成三角形，部分平面塗上三原色或黑白之間的色調，構成抽象的幾何形式組合，以他的第二階段巴黎年代（1919-1938）的作品為代表。傳記資料顯示，巴黎是蒙德里安最喜愛的創作環境之一，他努力融入巴黎生活，並且希望結合藝術與生活。然而，他如何將巴黎的都會空間與文化融入他的作品，至今仍未有深入研究。

Mondrian’s body of work has been considered the classical icon of abstract art. His compositions often feature intersecting vertical and horizontal lines, or lozenge pictures with triangles on the borders, some of which are rendered with primary colors. Such styles are seen mostly in the works he did in Paris from 1919 to 1938. Biographical documents affirm that Paris was one of his favorite artistic environments, and he strove to fit into Parisian life in his effort to fuse of art and life. However, the way he integrated Parisian urban culture in his work has not been well investigated to date. This essay argues that Mondrian drew various plastic elements from contemporary art and life of Paris, particularly during the years 1912-1930, and formulated his pluralist composition. Through analyzing his paintings and writings, this essay explores how he combines urban culture and abstract form. Firstly, Mondrian transferred the heterogeneity of Cubist collage into his paintings and studio wall works. Secondly, he adopted plastic elements from the street, including posters, walls, windows and store fronts, and thereby integrated materiality in abstract painting. Thirdly, Mondrian emulated avant-garde literature, Futurist free word in particular, and transferred some of its ideas to his Tableau-poème. In contrast to the formalist theory of purism, this essay finds Mondrian to be a pluralist in his synthesis of urban art and life.