About the artwork
Provenance: Victor Spark, New York, bought directly from the artist, prior to 1917; Francis Marro; Robert Kulicke, New York; Franklin Collection, New York; auction Franklin Collection, Parke-Bernet Galleries, New York, 5 dec. 1962, lotnr. 72; Thomas Neelands jr.; veiling Sotheby Parke-Bernet, New York, 12 april 1967; Mr. en Mrs. Marvin David, Rancho Mirage/Denver (CO), Verenigde Staten; coll. Palm Springs Desert Museum, Palm Springs (CA), United States, 1980-2005, inv.nr. 3844R.
Literature: Robert P. Welsh, 'Piet Mondrian's Early Career', Princeton 1965, pag. 86, image 135; Robert P. Welsh, 'Piet Mondrian. Catalogue Raisonné of the Naturalistic Works (until early 1911)', Blaricum 1998, pag. 335, cat.nr. A450 (image.), pag. 62 afb. in colour (with incorrect sizes); Marty Bax (inl.), 'Mondriaan Compleet', Blaricum 2001, image pag. 393; Apeldoorn, Paleis Het Loo, Catalogus 'Uit de kunst! 100 jaar Nederlandse kunsthandel', 2011-2012; Katjuscha Otte e.a., 'Agatha Zethraeus (1872-1966). Vriendin, leerling en model van Piet Mondriaan', Amersfoort 2014, afb. in colour pag. 55; Astrid Becker e.a., 'Mondriaan en Nolde in de Natuur/Mondriaan und Nolde in der Natur', Winterswijk/Zwolle 2015, colour image pag. 76.
Mondrian was a contributor to the De Stijl art movement and group, which was founded by Theo van Doesburg. He evolved a non-representational form which he termed neoplasticism. This consisted of white ground, upon which he painted a grid of vertical and horizontal black lines and the three primary colors.
Mondrian's arrival in Paris from the Netherlands in 1911 marked the beginning of a period of profound change. He encountered experiments in Cubism and with the intent of integrating himself within the Parisian avant-garde removed an 'a' from the Dutch spelling of his name (Mondriaan)
Before Mondrian made the typically abstract compositions for which he became famous, he drew and painted landscapes, figures, flowers and still-lifes in a naturalist style. Between 1895 and 1908, he gradually detached himself from pictorial representation and experimented with colour, composition and a simplifying of forms. This ultimately led to depicting nature in abstract vertical and horizontal lines and planes in primary colours.
He died in New York in 1944.