Broadway Boogie Woogie

Painted between 1942 and 1943 after Mondrian relocated to New York during World War II, this work marks a turning point in his practice. For decades, he had reduced painting to strict black lines and primary colors, searching for a universal visual harmony. Here, he breaks his own rules. The black grid disappears and is replaced by vibrating yellow lines, interrupted by small pulses of red, blue, and gray. These fragments create movement across the canvas rather than stable divisions, turning structure into rhythm. The composition is deeply tied to the experience of Manhattan. The grid echoes the city’s street layout, while the flickering blocks suggest traffic, electric lights, and constant motion. At the same time, the painting is shaped by music. Mondrian was fascinated by boogie woogie jazz, especially its syncopation and layered rhythms. He saw parallels between this music and his own artistic goal: creating balance through dynamic opposition rather than static harmony. Often considered his final completed work, it acts as a synthesis of everything he had been developing for decades. It is both highly controlled and unexpectedly joyful, a system that suddenly starts to dance. If earlier Mondrian paintings feel like architecture, this one feels like a city in motion.