|ID||PR11, P/R11, S6|
|Title||White, Black, Red and Grey|
|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:
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."