Do artists and scientists see the same thing in the shape of trees? As a scientist who studies branching patterns in living things, I’m starting to think so.

Piet Mondrian was an early 20th-century abstract artist and art theorist obsessed with simplicity and essence of form. Even people who have never heard of Mondrian will likely recognize his iconic irregular grids of rectangles.

When I saw Mondrian’s 1911 “Gray Tree,” I immediately recognized something about trees that I had struggled to describe. By removing all but the most essential elements in an abstract painting, Mondrian demonstrated something I was attempting to explain using physics and fractal geometry.

My field of research is mathematical biology. My colleagues and I try to explain how treelike structures such as veins and arteries, lungs and leaves fine-tune their physical form to efficiently deliver blood, air, water and nutrients.

Fundamental research in the biology of branching helps cure cardiovascular diseases and cancer, design materials that can heal themselves and predict how trees will respond to a changing climate. Branching also shows up in ant foraging patterns, slime molds and cities.

From 1890 to 1912, Mondrian painted dozens of trees. He started with full-color, realistic trees in context: trees in a farmyard or a dappled lane. Gradually he removed leaves, depth,

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