Marlow Moss

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ID PR11, P/R11, S6
Title White, Black, Red and Grey
Date 1932
Media Oil on canvas
Size 54 x 44.5 cm
Signed "M. Moss 1932" lower right
Location Gemeentemuseum Collection, The Hague,
Provenance Purchased by the Gemeentemuseum, The Hague, 1972, from a "private person" (likely to have been W. S. Nijhoff).
References Illustrated on front cover of Kati Rötger and Paul Heike, eds. Differenzen in Der Geschlechterdifferenz - Aktuelle Perspektiven Der Geschlechterforschung. Berlin: Erich Schmidt Verlag GmbH & Co, 1999.
Figure 15 in Robert P. Welsh, The Place of Composition 12 with Small Blue Square in the Art of Piet Mondrian, National Gallery of Canada Bulletin and Annual Bulletin. No. 29,1977, pp. 3-32.
Illustration number 23, p. 51, in Ankie De Jongh-Vermeulen, Marlow Moss -De Constructie Van Een Nieuwe Werkelijkheid, Jong-Holland Vol. 10, No. 4,1994, pp. 40-52.
Illustration 23, p. 67, in Cor Blok, Piet Mondriaan: Een Catalogus Van Ziin Werk in Nederlands Openbaar Bezit. Amsterdam: Meulenhoff, 1974.
Exhibitions Amsterdam 1962, Amersfoort 2005
Sources LH. Fig. 1 from FM, fig. 2 from LH, fig. 3 from PMdB.
Notes From LH, "I saw this painting on the 6th July 2005 at The Gemeentemuseum, The Hague, with Frans Peterse and Wietse van den Noort.

Signed M. Moss 1932.
Written on back:
No. 33
Paris 14
Rue Mechain
HAUT (top)
BAS (bottom)

It was in the care of a restorer (Wietse van den Noort ) as it was to be loaned to the Mondriaanhuis in Amersfoort (then directed by Ankie de Jongh-Vermeulen). A particularly interesting issue was that the restorer had found clear traces of yellow at the edges of the bottom grey and white 'landscape' planes. He suggested that Moss maybe first painted these segments yellow and then changed her mind. This is actually very unlikely, if accounts of Moss's working process are considered; a composition was developed in colour sketches, to precise line drawings, and completely finalised before being executed on canvas; a change of mind at this late stage would surely not be possible. I suggested the yellow was perhaps linseed oil that had been drawn from the glossy black line into the dryer white. We both looked very closely with a magnifier but couldn't be sure. He explained to me the methods of restoration he uses (gouache and water-based paints)."

The installation photograph from the Mondriaanhuis exhibition shows PR11 hanging next to a work by Jean Gorin."


fig. 1 PR11
PR11 installation
fig. 2 Amersfoort 2005
Mondrian B231
fig. 3 Mondrian B231
Moss's PR11 of 1932 is often shown with Mondrian's B231 of the same year to demonstrate their coincidence of ideas. It is increasingly accepted that Moss introduced Mondrian to the idea of the double line.
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Page added 25 Sep 2017, last updated 16-Oct-2017