Broadway Boogie Woogie Victory Boogie Woogie , created in the
Broadway Boogie Woogie As the viewer gazes at Broadway Boogie Woogie, the lines and blocks of colors pulsate in time The yellow lines of color guide the eye between the larger rectangles, which are spaced in such a way as to imply syncopation The varying short and long distances between the rectangles sound the rhythm of the piece
The boogie-woogie illusion - Harvard University
well known painting Broadway Boogie-Woogie This painting contains checkered strips which appear to shift around during inspection in a jazzy, unstable way Our figure 1 contains a grid of similar lines, composed of alternating light and dark squares If the whole pattern is moved obliquely up to the right at 1 deg sÿ1 to10 deg sÿ1 while
Newcastle Boogie-Woogie Broadway Boogie Woogie
Boogie-Woogie You probably know of another painting called Broadway Boogie Woogie This painting was heavily influenced of course by Mondrian, but it was also, strangely enough, influenced by Jackson Pollock What I was trying to do at this point was to resolve those two enormously important influences The painting is made up of
RESEARCH ARTICLE Open Access Piet Mondrian’s Broadway Boogie
Fig 1 Broadway Boogie Woogie, Piet Mondrian (Dutch, 1872–1944), 1942–43, Oil on canvas (127 × 127 cm Given anonymously, MoMA access # 73 1943, Catalogue Raisonné (CR) nr B323 [1]) Fig 2 Image of Broadway Boogie Woogie acquired under ultraviolet light showing a different white paints, b different red paints, c different
MoMA
Broadway Boogie Woogie 1942—43 Illustrated on page 258 Piet Mondrian, in The Museum of Modern Art Bulletin, 1946, pages 35, 36 The first aim in a painting should be universal expres- sion What is needed in a picture to realize this is an equivalence of vertical and horizontal expressions The second aim should be concrete, umversal expres- slon
Broadway Boogie-Woogie, Piet Mondrian - WordPresscom
Broadway Boogie-Woogie, Piet Mondrian IDENTIFIER •Le titre de l’œuvre est Broadway Boogie-Woogie •C’est un tableau C’est une huile sur toile •Elle appartient au domaine des arts visuels •Elle a été réalisée par Piet Mondrian, artiste néerlandais (1872-1944) •Cette œuvre date de 1942 •Ses dimensions sont 127 X127
The City in Modern art - MoMA
Broadway Boogie Woogie a rendition of a personal vision 1942–43 Ε How many shapes and colors are used in this painting? Ε What does this painting make you imagine or think of? Does it represent any particular place or thing? Ε The title of this painting is Broadway Boogie Woogie Knowing this, how does your understanding of the painting
Looking at Mondrians Victory Boogie-Woogie: What Do I Feel?
a painting may induce The Boogie-Woogie was a cultural move-ment of music and dance in the late 1920s, and it is characterized by its vivacity, syncopated beat and irreverent approach to melody This movement fascinated Mondrian as he considered it similar to his own work: “destruction of natural appearance; and construc-
Chapter Five Principles of Design - De Anza College
Broadway Boogie-Woogie, 1942-43 Oil on Canvas, 50X50” Museum of Modern Art, NY Boogie-woogie is a style of piano-based blues that became very popular in the late 1930s and early 1940s https://www sfmoma or g/watch/piet-mondrian-painting-and-dancing/
Principles of Design
Broadway Boogie-Woogie, 1942-43 Oil on Canvas, 50X50” Museum of Modern Art, NY Boogie-woogie is a style of piano-based blues that became very popular in the late
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Martins et al. Herit Sci (2016) 4:22
DOI 10.1186/s40494-016-0091-4
RESEARCH ARTICLE
Piet Mondrian's Broadway Boogie
Woogie: non invasive analysis using macro
X-ray ×uorescence mapping (MA-XRF)
and?multivariate curve resolution-alternating least square (MCR-ALS)Ana Martins
1* , Cynthia Albertson 1 , Chris McGlinchey 1 and Joris Dik 2Abstract
Piet Mondrian"s Broadway Boogie Woogie (1942-1943) was examined using Macro X-Ray Fluorescence mapping
(MA-XRF) to help characterize the artist"s materials and understand his creative process as well as the current condi-
tion issues of the painting. The presence and distribution of key chemical elements was used to identify the main
pigments in the di×erent paint layers and under-layers, namely titanium white/barium sulfate, zinc white, bone black,
cadmium yellow and/or cadmium-zinc yellow, cadmium red and/or cadmium-barium red and ultramarine. The XRF
data was also examined using a multivariate curve resolution-alternating least square (MCR-ALS) approach to virtually
separate and help characterize the di×erent paint layers. Results suggest that Broadway Boogie Woogie was originally
conceived as an asymmetrical grid of interlacing red and yellow bars. Mondrian then reworked the composition
extensively breaking the bars by painting small squares in red, blue and gray and repainting them over and over again
changing their size, color or tonality, and by adding and reworking large colored shapes in the background. Mondrian
scraped o× the paint in some areas before making adjustments to the composition but did not do it consistently
throughout the painting. The yellow paint on the surface is severely cracked. Wherever red paint has been covered
with yellow paint, it has oozed through the cracks in the top layer. The results illustrate how the MA-XRF / MCR-ALS
approach can complement the examination of a painting and contribute to the understanding of the artist"s process
and choice of materials in a non-invasive way. Keywords: MA-XRF mapping, MCR-ALS, Mondrian, Pigment identi?cation© 2016 The Author(s). This article is distributed under the terms of the Creative Commons Attribution 4.0 International License
(http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution, and reproduction in any medium,
provided you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license,
and indicate if changes were made. The Creative Commons Public Domain Dedication waiver (http://creativecommons.org/
publicdomain/zero/1.0/) applies to the data made available in this article, unless otherwise stated.Background
Broadway Boogie Woogie (Fig. 1) is one of Mondrian"s most emblematic paintings and his last ?nished work. It was painted in New York between June 1942 and March1943 and it entered -e Museum of Modern Art col-
lection shortly after it was exhibited for the ?rst time at the Valentine Dudensing Gallery in March 1943 [1]. Inspired some say by the New York city grid and the syn- copated rhythm of Boogie Woogie, Mondrian abandons the distinctive black grid of his preceding Transatlantic Paintings series [2] and replaces it with intersecting yel- low bars punctuated by bright red, blue and light gray squares against a white background. Contrasting how- ever with his seemingly restrained palette is the diversity of materials he used as well as the extensive reworking of the surface as clearly evidenced during the examination under ultraviolet light (UV) (Fig.×2) and X-radiography (Fig.×3). -e painting shows condition issues in the yellow areas and particularly when it was applied over red paint. -e yellow paint has cracked over time and red paint oozingOpen Access
*Correspondence: ana_martins@moma.org 1 The Museum of Modern Art, 11 W 53rd Street, New York, NY 10019, USA Full list of author information is available at the end of the articlePage 2 of 16Martins et al. Herit Sci (2016) 4:22
through the cracks has been documented since 1990. Moreover, both yellow and red paints are water sensitive 3 ]. ?e possible causes for the painting"s current condi tion are being investigated as part of an ongoing project to document and examine Mondrian"s paintings in the museum collection [ 4 ]. Mondrian"s choice of materials and the consecutive conservation treatments, in particu lar the wax lining performed in 1958 [ 3 ], may have con- tributed to the evolving condition of the painting.Analysis done in the past [
3 ] on paint samples taken from the painting using Polarized Light Microscopy (PLM) and Scanning Electron Microscopy with Energy Dispersive Spectroscopy (SEM-EDS) identi?ed some of the pigments and ?llers namely cadmium yellow, cad mium yellow lithopone, cadmium red, cadmium red lithopone, an organic red, titanium oxide/barium sulfate composite white, zinc white, synthetic ultramarine blue and small amounts of ?llers such as barium sulfate, cal cite and quartz. ?e purpose of this study was to con?rm and complement these ?ndings using Macroscopic X-ray uorescence analysis (MA-XRF). Macroscopic X-ray uorescence analysis is an imaging method capable of providing information in a noninva sive way on both surface and stratigraphic distribution of key chemical elements representative of the pigments and ?llers in the paint layers [ 5 ]. ?e technique is gain ing widespread popularity in the ?eld of cultural heritage since it was ?rst presented in 2008 [ 6 ] and has been used with great success to reveal and visualize hidden com positions in paintings by Van Gogh and Magritte among others [ 6 11 ]. It has also provided meaningful insight into the technique of artists such as Rembrandt [ 12 , 13] and Pollock [ 14 ?e interpretation and comparison of elemental dis tribution maps becomes challenging however when several elements are associated together in the same Fig. 1 Broadway Boogie Woogie, Piet Mondrian (Dutch, 1872-1944),1942-43, Oil on canvas (127
127cm. Given anonymously, MoMA access. # 73.1943, Catalogue Raisonné (CR) nr. B323 1 Fig. 2 Image of Broadway Boogie Woogie acquired under ultraviolet light showing a dierent white paints b dierent red paints c dierent blue paints and d dierent yellow paints Fig. 3 X-ray radiograph of Broadway Boogie Woogie showing the extent of Mondrian"s reworking of the painting including a portion of bars removed, b shifted edge, c crossed vertical and horizontal bar replaced by square and d widening of the bar
Page 3 of 16Martins et al. Herit Sci (2016) 4:22
paint or paint ingredient, or when a particular element is present in more than one paint ingredient, paint or paint layer. Multivariate image analysis methods can be used to simultaneously identify and visualize elements that are correlated together and to decompose the sig nal of a single element into its dierent contributions.Mixtures decomposition algorithms have been used
in the past to examine multispectral data of paintings and help characterize the chemical composition of the paints in a spatially resolved manner. Non-negative fac tor analysis (NMF) for example is a matrix factorization method that has been used to discriminate between twoCo containing pigments in a Rembrandt painting [
15 and to identify the presence of an anachronistic pigment containing Cd, Se, Ba and Zn (modern cadmium red lithopone) in forgeries of historical enamels [ 16 ]. End member extraction methods, on the other hand, have been used to study and map pigments and binders in paintings using multispectral visible and near-infrared imaging spectroscopy [ 17 , 18]. In this paper, we propose the use multivariate curve resolution-alternating least squares (MCR-ALS) [ 19 , 20], another popular spectral unmixing method that has been used in the interpreta tion of Raman, FTIR, TOF-SIMS, LC-MS and EDXRF imaging data [ 21-24]. When applied to multispectral imaging, MCR-ALS analysis assumes that the spectrum of each pixel can be decomposed into the contributions of pure" components and will proceed to extract both their individual spectrum and a measure of their con centration or relative abundance. Generally a pure com- ponent, in the context of MCR-ALS of imaging data, is a chemical compound that can be identi?ed through its characteristic spectrum, and the abundance of this chemical compound can be rendered as a spatial distri bution map. ?is paper aims to demonstrate that in the context of XRF-mapping of paintings, the pure compo nents extracted with MCR-ALS can represent the dier- ent paints used by the artist or the paint ingredients in those paints namely pigments and ?llers. ?e pure com ponent spectra can thus be used to elucidate the elemen- tal composition of the paints, while the pure component distribution maps can be used to visualize the dierent paints and paint layers independently and thus decon struct the artist process. ?is study will illustrate how the combined MA-XRF/MCR-ALS approach can con tribute to a better understanding of the artist"s choice of materials and process in a noninvasive way.
Methods
Macroscopic X-ray uorescence analysis
MA-XRF maps were collected using a Bruker M6 Jet-
stream Instrument from Bruker [ 25]. ?is instrument
consists of a measuring head that moves in front of the surface of the painting at a 1-2 cm distance by means of an XY-motorized stage (10 m minimum step size and 800 ? 600 mm maximum travel range). ?e measur
ing head consists of a Rh-target microfocus X-ray tube (30 W, 50 kV maximum voltage, 0.6 mA maximum cur rent), and a 30 mm 2