from the moma.org website:
"Mondrian arrived in New York in 1940, one of the many European artists who
moved to the United States to escape World War II. He fell in love with the
city immediately. He also fell in love with boogie-woogie music, to which he was
introduced on his first evening in New York, and he soon began, as he said, to
put a little boogie-woogie into his paintings.
Mondrian's aesthetic doctrine of Neo-Plasticism restricted the painter's
means to the most basic kinds of line—that is, to straight horizontals and
verticals—and to a similarly limited color range, the primary triad of red, yellow,
and blue plus white, black, and the grays between. But Broadway Boogie Woogie
omits black and breaks Mondrian's once uniform bars of color into multicolored
segments. Bouncing against each other, these tiny, blinking blocks of color
create a vital and pulsing rhythm, an optical vibration that jumps from
intersection to intersection like the streets of New York. At the same time, the
picture is carefully calibrated, its colors interspersed with gray and white
blocks in an extraordinary balancing act.
Mondrian's love of boogie-woogie must have come partly because he saw its
goals as analogous to his own: "destruction of melody which is the destruction
of natural appearance; and construction through the continuous opposition of
pure means—dynamic rhythm."