At 10:09 PM 6/3/2004 -0400, you wrote:
>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
>vverticals—and to a similarly limited color range, the primary triad oof
>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."