Marlow Moss, a pioneering female artist from Britain who was shunned by her time, is finally getting the recognition she deserved. Born in London in 1889 as Marjorie Jewel Moss, she studied art before moving to Paris in the late 1920s, where she befriended the famous Dutch painter Piet Mondrian.
Moss's contribution to art history cannot be overstated, particularly when it comes to her use of double lines in her paintings, a technique that would later become synonymous with Mondrian's style. However, recent research has revealed that Moss actually used this technique before Mondrian, and her innovative approach was likely influenced by her experiences as a queer artist living in a time when such identity expression was not accepted.
Moss's relationship with Mondrian was also significant, both personally and professionally. The two artists met through their mutual friend, the writer Netty Nijhoff, who introduced them at the Cafe de Flore in Paris. Moss and Nijhoff became partners, and their unconventional lifestyle sparked controversy among some art circles.
Despite facing rejection from the Tate and other prominent galleries during her lifetime, Moss's work has now been rediscovered and is being showcased at the Kunstmuseum in The Hague. A recent exhibition of her paintings and sketches revealed a masterful use of double lines, which had previously been overlooked by art historians who credited Mondrian with this technique.
The current focus on Moss's work also marks a shift in the way art history is told. For centuries, it has been dominated by stories of singular male geniuses who shaped the course of modern art. However, recent scholarship has highlighted the contributions of numerous female and queer artists who were overlooked or marginalized during their time.
Moss's legacy serves as a powerful reminder that art history is not just about the famous and renowned figures, but also about those who have been silenced or erased from our collective memory. As art historian Lucy Howarth notes, "We're realising art history is a lot more interesting than that... The presence of lesser-known artists, including women and/or queer individuals, complicates the story, but it also enriches it – for all of us."
Moss's contribution to art history cannot be overstated, particularly when it comes to her use of double lines in her paintings, a technique that would later become synonymous with Mondrian's style. However, recent research has revealed that Moss actually used this technique before Mondrian, and her innovative approach was likely influenced by her experiences as a queer artist living in a time when such identity expression was not accepted.
Moss's relationship with Mondrian was also significant, both personally and professionally. The two artists met through their mutual friend, the writer Netty Nijhoff, who introduced them at the Cafe de Flore in Paris. Moss and Nijhoff became partners, and their unconventional lifestyle sparked controversy among some art circles.
Despite facing rejection from the Tate and other prominent galleries during her lifetime, Moss's work has now been rediscovered and is being showcased at the Kunstmuseum in The Hague. A recent exhibition of her paintings and sketches revealed a masterful use of double lines, which had previously been overlooked by art historians who credited Mondrian with this technique.
The current focus on Moss's work also marks a shift in the way art history is told. For centuries, it has been dominated by stories of singular male geniuses who shaped the course of modern art. However, recent scholarship has highlighted the contributions of numerous female and queer artists who were overlooked or marginalized during their time.
Moss's legacy serves as a powerful reminder that art history is not just about the famous and renowned figures, but also about those who have been silenced or erased from our collective memory. As art historian Lucy Howarth notes, "We're realising art history is a lot more interesting than that... The presence of lesser-known artists, including women and/or queer individuals, complicates the story, but it also enriches it – for all of us."
So I'm loving this whole new perspective on Marlow Moss's work. It's crazy to think she was ahead of her time with that double line technique 
And yeah, the fact that she and Mondrian had a personal connection is just wild... like they were more than just art buddies 
But what really gets me is how this newfound recognition is gonna change the way we look at art history. Like, it's not just about these super famous male artists anymore 
It's all about giving credit to the women and queers who paved the way (or in Moss's case, were ahead of the curve 
). I'm so here for this shift! 
Who knew she was a pioneer in art history? And that her style influenced Mondrian's work? It's wild to think that someone who faced so much rejection is finally getting the recognition she deserved. I wonder if there are other artists out there like her who were overlooked... or maybe I'm just reading too much into this 
marlow moss was like totally ahead of her time and yet we only just now know about her genius work 
it's wild to think that her use of double lines was already a thing before piet mondrian even got his hands on it 
but you know what the cherry on top is? her relationship with netty nijhoff, like the ultimate queer icon 
so let's give it up for marlow moss, a true pioneer and a reminder that art history needs a major overhaul 
. And can you even imagine being a queer artist back then and facing so much rejection? Moss and her partner Netty were total rebels, I love how they lived life on their own terms 
.
and it's wild that she was using double lines in her paintings before Mondrian even came along with it 
. And let's be real, her relationship with Mondrian and Netty Nijhoff is like, the ultimate example of female queer power couple goals 
.
. Moss's legacy is like, totally a reminder that art is not just about the famous, but about everyone who ever picked up a brush or canvas 
. It's time to give some love to all the underdogs out there 
I love how Lucy Howarth puts it, "art history is a lot more interesting than that" 
- it's all about adding in these overlooked voices and perspectives to get a true picture of art's evolution 
It's wild that it took this recent research and exhibition to give her the credit she deserved. The fact that her style was influenced by her identity as a queer artist is huge - we're only starting to scratch the surface of how much LGBTQ+ artists have contributed to art history.
It's like they were trying to erase her from existence. But I guess it's great that her work is finally getting some serious attention now. And I love how this shift in art history is making us realize that there are so many more stories to tell beyond just the famous, straight white guys.
Anyway, back to Moss... I feel so bad for her that she was rejected by galleries during her lifetime. It's crazy how art history can be so biased towards men 
And I love how this new focus on overlooked artists is changing the game, making art history way more inclusive and interesting 