For decades, Piet Mondrian has been hailed as a towering figure in 20th-century art history - his grid-like paintings a staple of modernist aesthetics. Yet, a reevaluation of one of his contemporaries, Marlow Moss, is now shedding new light on the life and work of this pioneering female artist.
Moss, born in London in 1889, was an early adopter of neoplasticism, a movement championed by Mondrian. Despite her innovative style, Moss's art was largely overlooked during her lifetime, with many assuming that she had been influenced by Mondrian rather than contributing to the development of neoplasticism herself.
However, recent discoveries have revealed a more nuanced and complex picture. In 2025, the Kunstmuseum in The Hague acquired a suitcase full of Moss's sketches and artworks, including several pieces from the early 1940s. These finds have sparked a major reappraisal of Moss's work, with many experts hailing her as a pioneering figure in British modernist art.
One of the key figures behind this reevaluation is author Florette Dijkstra, who has written extensively on Moss and his relationship with Mondrian. According to Dijkstra, it was Moss who first introduced Mondrian to the concept of using double lines in abstract compositions - an idea that would go on to become a hallmark of neoplasticism.
While some have long assumed that Mondrian's use of double lines was a pioneering achievement, recent research suggests that this may have been inspired by Moss rather than created independently. This new understanding not only shifts the credit for this innovative technique but also highlights Moss's groundbreaking contributions to the field of modernist art.
The Kunstmuseum's decision to showcase Moss's work alongside Mondrian's has been seen as a significant gesture towards greater inclusivity and diversity in art history. As curator Clairie Hondtong notes, "Many museums put Moss to the front in the originality debate, but we're moving away from the 'Who did it first?' narrative, focusing instead on the interchange of knowledge."
The upcoming Berlin sculpture exhibition is set to further cement Moss's reputation as a trailblazing artist. Featuring over 10 pieces, including rare sculptures that have been lost over time, this show promises to be a major milestone in the rediscovery of her work.
Moss's story is also one of personal courage and resilience. As an openly gay woman who dressed in masculine clothes, she faced significant challenges in her life, both creatively and socially. Her use of double lines may have been a response to the constraints placed upon her by a society that did not accept queer identities.
The significance of Moss's work extends beyond the art world itself, however. As art historian Lucy Howarth notes, "Mondrian was an amazing artist, but he wasn't the only one practising neoplasticism... We're realising art history is a lot more interesting than that." By examining the contributions of lesser-known artists like Moss, we can gain a richer understanding of the complex and multifaceted nature of modernist art.
Ultimately, Marlow Moss's story serves as a powerful reminder that art history is not always a straightforward narrative. It is through careful scholarship and a willingness to challenge prevailing narratives that we may uncover new insights into the lives and works of those who have been overlooked or undervalued.
Moss, born in London in 1889, was an early adopter of neoplasticism, a movement championed by Mondrian. Despite her innovative style, Moss's art was largely overlooked during her lifetime, with many assuming that she had been influenced by Mondrian rather than contributing to the development of neoplasticism herself.
However, recent discoveries have revealed a more nuanced and complex picture. In 2025, the Kunstmuseum in The Hague acquired a suitcase full of Moss's sketches and artworks, including several pieces from the early 1940s. These finds have sparked a major reappraisal of Moss's work, with many experts hailing her as a pioneering figure in British modernist art.
One of the key figures behind this reevaluation is author Florette Dijkstra, who has written extensively on Moss and his relationship with Mondrian. According to Dijkstra, it was Moss who first introduced Mondrian to the concept of using double lines in abstract compositions - an idea that would go on to become a hallmark of neoplasticism.
While some have long assumed that Mondrian's use of double lines was a pioneering achievement, recent research suggests that this may have been inspired by Moss rather than created independently. This new understanding not only shifts the credit for this innovative technique but also highlights Moss's groundbreaking contributions to the field of modernist art.
The Kunstmuseum's decision to showcase Moss's work alongside Mondrian's has been seen as a significant gesture towards greater inclusivity and diversity in art history. As curator Clairie Hondtong notes, "Many museums put Moss to the front in the originality debate, but we're moving away from the 'Who did it first?' narrative, focusing instead on the interchange of knowledge."
The upcoming Berlin sculpture exhibition is set to further cement Moss's reputation as a trailblazing artist. Featuring over 10 pieces, including rare sculptures that have been lost over time, this show promises to be a major milestone in the rediscovery of her work.
Moss's story is also one of personal courage and resilience. As an openly gay woman who dressed in masculine clothes, she faced significant challenges in her life, both creatively and socially. Her use of double lines may have been a response to the constraints placed upon her by a society that did not accept queer identities.
The significance of Moss's work extends beyond the art world itself, however. As art historian Lucy Howarth notes, "Mondrian was an amazing artist, but he wasn't the only one practising neoplasticism... We're realising art history is a lot more interesting than that." By examining the contributions of lesser-known artists like Moss, we can gain a richer understanding of the complex and multifaceted nature of modernist art.
Ultimately, Marlow Moss's story serves as a powerful reminder that art history is not always a straightforward narrative. It is through careful scholarship and a willingness to challenge prevailing narratives that we may uncover new insights into the lives and works of those who have been overlooked or undervalued.
? anyway, i'm low-key hyped about marlow moss getting the recognition she deserves after all these years 
her contribution to neoplasticism is seriously underrated and it's amazing that florette dijkstra is out there doing her thing and giving us a more nuanced understanding of her work 
i mean, who needs more evidence of mandela effect? 
let's just say marlow moss was a total OG in the modern art scene 
and it's time we celebrate that 
And now we find out that Mondrian was actually building on her ideas instead of being the pioneer we thought he was? That's some major flip in art history. 
I hope they give Moss the recognition she deserves and not just put her next to Mondrian as an afterthought, like some exhibitions have done in the past. 
It's not just about giving credit where it's due, but also about acknowledging the complex and multifaceted nature of art history. We need more stories like Moss's to challenge our assumptions and give us a richer understanding of modernist art 
! never knew she was a total trailblazer 
her work is being reevaluated and it's amazing to see how much she contributed to modernist art 
and i love how the museum is showing her work alongside his now 
it's all about inclusivity and diversity 
can't wait for the berlin sculpture exhibition 
but now it turns out she actually created the double line technique on her own 
The Kunstmuseum in The Hague is like, totally showcasing her work alongside Mondrian's and it's all about highlighting Moss's contributions to modernist art 
can't wait to see more of her work on display! 
moss was doin all this innovative stuff back in the day but nobody knew her name till now 
i mean, thats not just a shame for moss, its also a reflection of how we tend to idolize these art icons and forget about the women who paved the way 
, I guess you could say they're giving Moss her due recognition and not just saying she was a minor influence 
.
But seriously, it's great to see the Kunstmuseum showcasing Moss's work alongside Mondrian's, it's about time we gave her some credit 
. It's awesome that Florette Dijkstra is bringing attention to Moss and her contributions to neoplasticism, maybe we can finally give the women a break from being overshadowed by their male counterparts 
.
i mean, can you even imagine if she didn't do that and Mondrian just went with his own thing? it's crazy how much Moss's work is being rediscovered now, and i think it's so cool that the Kunstmuseum is making an effort to showcase her alongside Mondrian's. it's like, we need more stories like this in art history, you feel me?! 
️ and it seems like her work got lost in the shuffle during her lifetime 
i mean who doesn't love a good underdog story? 
let's not get ahead of ourselves here. Also, I'm lovin' how the Kunstmuseum is shakin' things up by showin' Moss's work alongside Mondrian's - it's about time we had a more diverse perspective on art history 