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At the time of Mondrian’s fairly sudden death in early 1944 at the age of seventy-two, Victory Boogie Woogie was still unfinished. The lozenge-shaped painting was covered with loosely attached bits of coloured paper and plastic which Mondrian was using to try out new emphases and rhythms. Given the time, he would probably have replaced them by a rather more regular, painted version of the fragmented visual rhythms. He never had the chance to do so but, even in this state, Victory Boogie Woogie is an impressive painting and provides moving evidence that Mondrian died at the very height of his creative powers. Its distinctive lozenge shape underlines the fact that Mondrian was seeking to maximise the spatial spread of his composition. The interwoven colours and the rhythm of the fragmented network of lines undoubtedly reflect the bustle of big-city life in New York....
 
 
At the time of Mondrian’s fairly sudden death in early 1944 at the age of seventy-two, Victory Boogie Woogie was still unfinished. The lozenge-shaped painting was covered with loosely attached bits of coloured paper and plastic which Mondrian was using to try out new emphases and rhythms. Given the time, he would probably have replaced them by a rather more regular, painted version of the fragmented visual rhythms. He never had the chance to do so but, even in this state, Victory Boogie Woogie is an impressive painting and provides moving evidence that Mondrian died at the very height of his creative powers. Its distinctive lozenge shape underlines the fact that Mondrian was seeking to maximise the spatial spread of his composition. The interwoven colours and the rhythm of the fragmented network of lines undoubtedly reflect the bustle of big-city life in New York....

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