Reevaluation of Marlow Moss: A Pioneer in Abstract Art

Marlow Moss, a British artist largely overlooked during her lifetime, is experiencing a significant revival in recognition, particularly for her contributions to abstract art. The Kunstmuseum in The Hague, which acquired three of her paintings in 1972, has now positioned her works prominently, reflecting a shift in the art world's understanding of her influence on Piet Mondrian, the renowned Dutch painter. Recent exhibitions, including one at the Georg Kolbe Museum in Berlin, highlight Moss's innovative use of the double line technique, which Mondrian later adopted, suggesting a more reciprocal relationship between the two artists than previously acknowledged.

The Guardian

Born Marjorie Jewel Moss in London in 1889, she initially pursued dance and music before turning to art. After moving to Cornwall, she adopted a gender-neutral name and style, which was emblematic of her identity as a queer artist. Moss became part of the avant-garde scene in Paris during the late 1920s, where she was introduced to Mondrian by her partner, Netty Nijhoff. Their relationship, characterized by non-conformity, was met with mixed reactions within the artistic community.

The Guardian

Moss's work is distinguished by her experimentation with materials beyond traditional paint, incorporating cork and wood into her compositions. Her innovative approach to the double line allowed for dynamic arrangements that diverged from Mondrian's earlier grid-based style. This technique, which she described as a means to create space on the canvas, has been interpreted as a reflection of her desire for freedom in a restrictive society.

The Guardian

Despite her recent acclaim, Moss faced significant rejection during her lifetime, with institutions like the Tate showing little interest in her work. Critics have noted that the current focus on inclusivity and diversity in art may partly explain her resurgence. Florette Dijkstra, author of a biography on Moss, emphasizes that the evolving landscape of art history is now more receptive to women and queer artists, which has contributed to Moss's reevaluation.

The Guardian

Lucy Howarth, a historian and co-curator of the upcoming Berlin exhibition, asserts that Moss deserves recognition as a top-tier non-figurative artist from the interwar period. She highlights the importance of shifting the narrative from singular male geniuses to a more inclusive understanding of art history that acknowledges the contributions of lesser-known artists like Moss.

The Guardian

The recent discovery of a suitcase containing sketches and works by Moss has prompted renewed interest in her artistic process and contributions. This collection, acquired by the Kunstmuseum in 2025, is expected to further illuminate her unique approach to abstraction and may lead to a deeper exploration of her legacy in contemporary art discussions.

The Guardian

• “Moss’s time has come,” — Florette Dijkstra, Author

The Guardian

• “We’re realising art history is a lot more interesting than that,” — Lucy Howarth, Historian

The Guardian

Marlow Moss's journey from obscurity to recognition illustrates the evolving narrative of art history, emphasizing the need to acknowledge the contributions of diverse voices in shaping the artistic landscape.

The Guardian