Piet Mondrian
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Composition No. IV, with Red, Blue, and Yellow
Piet Mondrian (1929)
Composition with Yellow and Blue
Piet Mondrian (1932)
Picture No. III (often labelled Picture No. III / Composition no. 3)
Piet Mondrian (1938)
Lozenge Composition with Two Lines
Piet Mondrian
Broadway Boogie Woogie
Piet Mondrian (1942–1943)
Mondrian converts New York’s pulse into a <strong>vibrating grid</strong> of color. In place of black bars, intersecting <strong>yellow bands</strong> studded with red, blue, white, and light gray units generate a <strong>syncopated rhythm</strong> across wide white blocks that read as pauses and city blocks <sup>[1]</sup><sup>[2]</sup>.
Composition with Red, Blue and Yellow
Piet Mondrian (1930)
Mondrian’s Composition with Red, Blue and Yellow crystallizes <strong>Neo‑Plasticism</strong> into a taut field of verticals/horizontals and primary planes, rejecting depth for <strong>pure relational balance</strong>. A dominant red at upper right is held in check by smaller blue and yellow blocks and by black bars that function as <strong>active planes</strong> rather than outlines. The result is a concise proposal for <strong>universal order</strong> achieved through asymmetry and reduction <sup>[1]</sup><sup>[2]</sup>.
Composition: No. II, with Yellow, Red and Blue
Piet Mondrian (1930)
Composition No. III, with Red, Blue, Yellow, and Black
Piet Mondrian (1929)
Composition with Large Red Plane, Bluish Gray, Yellow, Black and Blue
Piet Mondrian (1922)
Victory Boogie Woogie
Piet Mondrian
Composition with Red, Blue and Grey
Piet Mondrian (1927)