Abstract

The principle aim of this paper is to articulate a means for understanding and seeing rhythm within theëthicknessí of the surface of Mondrianís early mature Neo-plastic canvases of around the 1920s, workswhich imply a ëlatentí sense of rhythm which is far more perplexing thanthe more obvious expression of visual rhythm of the Boogie Woogie paintings of the New York period. My goal is to provide the fundamentals for reading rhythm in Mondrianís early matureNeo-plastic paintings, which, in terms of rhythm, are typically overlooked by art critics for being tooëcoldí, geometric, and static[1]