Mondrian in London: Letters to Ben Nicholson and Barbara Hepworth

Author(s): Sophie Bowness

Source: The Burlington Magazine , Nov., 1990, Vol. 132, No. 1052 (Nov., 1990), pp. 782-
788
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 SOPHIE BOWNESS

Mondrian in London: Letters to Ben Nicholson and

Barbara Hepworth*

MONDRIAN arrived in London on 21st September 1938, j'en in

gagnerai.'3 Mondrian had also written on 7th Septembe
tofor
response to the perceived imminence of war. He stayed his friends Harry Holtzman, Frederick Kiesler and
almost exactly two years. He had been encouraged Jean
in hisXceron in New York requesting a letter of invitation
Their replies arrived too late, however: Mondrian wa
resolve by Ben Nicholson, and accompanied on the journey
from Paris by Winifred Nicholson.1 On 7th September,already in London.4
Mondrian had written to Ben Nicholson asking for Ben
his Nicholson found him a room at 60 Parkhill Road
Belsize
advice: 'Je voudrais tdcher d'aller en Amerique. Mais tout est tres Park (Fig.24). In the garden, and directly beneat
Mondrian's
chere la bas, et c'est loin. Je pense aussi d Londres, bienque il y windows, was Nicholson's studio; beyond were
the Mall
aura aussi des bombes. Je pourrais me fixer pour quelque temps a Studios where Nicholson and Barbara Hepwort
Londres et penser apres d'aller de la d New-York.' Nicholson lived. The first in the series of letters which follows presents
Mondrian newly installed.5 He quickly re-created his Pari
responded with alacrity, sending a formal letter of invi-
environment,6
tation, setting Mondrian's mind at rest about the cost of but found his work greatly influenced by
his new surroundings.7 Mondrian grew to love London
renting a room, and offering to lend him a bed. Mondrian's
reply is full of his preparations for departure. and was always grateful he had moved there.8 With th
'Mon cher,' he had written on the 7th September, V'e departure
suis of Nicholson and Hepworth for Cornwall shortly
before
tellement attriste' queje dois interrompre ainsi, brutalement forcd par the outbreak of war, and Mondrian's refusal to joi
them
la ncessitei, mon travail . . . J'avaisjust trouve' la solution de deux there, the sequence proper begins.9
The letters are evidence of the closeness of a friendshi
tableaux d'un me'tre carre et trois autres'. And yet, 'Malgre' toutes
difficultes, je serai content de quitter Paris ... on ne respirebegun
plus in Paris in 1933. In the following year, Nicholso
and Hepworth
ici.2 Et quant au possibilitis de vendre, je ne perdrai rien, peut-etre first visited Mondrian's studio. Nicholson's

*The originals of the letters printed here are deposited in the Tate 'Aller en Hollande, cela me digoute.. .' (letter to BN, 7th September 1938).
Gallery
51t was
Archive. Nicholson and Hepworth's letters to Mondrian have not survived for written at the height of the Munich crisis, when BN and BH took their
children to stay with BN's sister Nancy outside Oxford.
it was his custom to destroy all letters received. In his most accomplished
6See the contributions ofBN, BH and Herbert Read in HARRISON, loc.cit. at not
phrases one can sometimes hear echoes of their words. On arrival in London,
Mondrian immediately began writing to them in English though his sentence1 above. 'My room is now white, as always ... White with the odd patch
constructions and spelling often owe something to French. Mondrian's red.' (Letter to the Hoyacks, 4th April 1939, quoted in Mondrian: From Figurati
spelling
to Abstraction, exh.cat., Seibu Museum of Art, Tokyo [1987], p.225.)
has not been corrected in the transcription but his deletions have been omitted.
Line endings are indicated with an oblique line only where they serve 7Letters
as to Carel, 28th October 1938, in HOEK, loc.cit. at note 3 above, and t
punctuation. Ben Nicholson and Barbara Hepworth's names are abbreviated Jean Gorin, 26th January 1939, in Y.-A. BOIs, ed.: 'Lettres A Jean Gorin
below as BN and BH. In addition to those mentioned by name in the notes, Macula, I no.2 [1977], p.133.
"Letters to BN and BH, 4thJanuary 1941 and 23rd April 1943; and to Winifre
am grateful to Clare Colvin, Nicolete and the late Basil Gray, Herbert Henkels,
Sir Leslie and Lady Martin, Shokoufeh Meraji, Juliet Newport, Ben Read, Nicholson,
the 21st October 1940 and 4th January 1941. On first arriving, Mondrian
repeatedly told Winifred he was glad he had come to London. His health
Tate Gallery Archive and, above all, my father, who had discussed publication
of the letters with the late Harry Holtzman. improved and, above all, he felt the 'spiritual surrounding' was better than i
'For Winifred Nicholson's account of the journey, see her reminiscences Paris (letter
in of Tuesday Evening [4th October 1938]). Sentences from Herbe
Read's introduction to the catalogue of the Living Art in England exhibition,
'Mondrian in London', introduced by c. HARRISON: Studio International, vol.172,
which Mondrian showed two works, seem apt: 'In so far as such artists [exile
no.884 [December 1966]. Winifred's brother, the Liberal M.P. Wilfred Roberts,
come to London hoping to find better material conditions, they are deceived
helped to obtain Mondrian's permit (information from Jake Nicholson). Between
1932 and 1938, after the end of her marriage to Ben Nicholson, Winifred But lived
if they feel, however obscurely, that they will find a better atmosphere fo
work, aAgreater potentiality for a renaissance of some kind, then I think the
for part of each year in Paris, where she became a close friend of Mondrian.
may be right.' (Catalogue in the London Bulletin, no.8-9 [january-Februar
number of Mondrian's letters to her are included in A. NICHOLSON, ed.: Unknown
Colour: Paintings, Letters, Writings by Winifred Nicholson, London [1987]. 1939].) The sales Mondrian had hoped for did not materialise: 'La vente e
2A reference in part to Mondrian's ill-health. comme partout - mais ily a de la comprihension' he wrote to Alfred Roth at the time
of the
3Letter of Dimanche soir [1 1th September 1938]. Mondrian felt that 'a form ofexhibition (see A. ROTH: Begegnung mit Pionieren, Basel [1973], p. 180). H
higher control' was at work (letter to his brother Carel, 28th Octoberhad sold nothing in England when he wrote in May 1939: 'Jepeux vivre, mais c'e
1938,
published in E. HOEK: 'Mondrian in Disneyland', Art in America, vol.77, tout!' (see BOIs, loc.cit. at note 7 above, p. 134). Through BN, Winifred Nicholson
no.2
and Nicolete Gray's Abstract and Concrete exhibition of 1936, England had becom
[February 1989], p. 141). On arrival in New York, he wrote of having experienced
with
'an inner pressure' to leave first Paris and then London (letter to BN and BH,the United States, the most important market for Mondrian's work. (Th
21st October 1940). was Mondrian's own estimation in the letter of 28th October 1938 to his
4There was a further possibility in the United States. 'Moholy aimera bien brother
m'avoir in HOEK, loc.Cit. at note 3 above.) Helen Sutherland, Nicolete Gray,
Alastair Morton, Marcus Brumwell, Leslie Martin, Nan Roberts, Vera Moore
au Bauhaus &i Chicago, mais pour le moment cela ne va pas encore, il m'a icrit.' (Letter to
BN, 7th September 1938). Moholy-Nagy's New Bauhaus was unable to re-open and Winifred herself all bought paintings. Ironically, these purchases had been
for the new academic year. Both New York and Chicago remained options made before Mondrian's arrival. The worsening international situation and
for
Mondrian. On 6th June 1939 he wrote to Moholy-Nagy from London then the outbreak of war meant that Mondrian made very few sales in England
putting
his case as a suitable teacher at the re-launched school (see letter in R. during
KOSTEL-his stay, as the letters to BN and BH show.
ANETZ, ed.: Moholy-Nagy, New York [1970], pp.176-7). Mondrian dismissed 9Taking
the up the invitation of Adrian Stokes, BN, BH and their triplets arrived
invitation from his brother Carel to return to Holland as 'far from helpfulon 25th
for August 1939 at Stokes's house, Little Park Owles, Carbis Bay, St Ives.
my work' (letter of 28th October 1938, in HOEK, loc.cit., at note 3 above, p. 141).

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 MONDRIAN IN LONDON

The Letters

I. [30th September 1938]

60 Parkhill Road
Friday afternoon

Mon cher Nicholson,

I just intended to write to you when this morning your letter
came. First I would thank you and Barbara so much for having
lend me the bed. Gabo and his wife has helped me to buy the
rest, copboard, etc.' The whiting has very well succeeded/only
the paper have had to be taken off. I am very happy with the
room only ..... the war. Yesterday I lunched at the Gabos;
they (above all he) was very nervous but he came today and
said it was more hoopfull. I saw the papers yesterday evening
and I think the same. Yesterday morning the gouvernment
gave me very kindly a gasmasque at the town hall. That is not
very encouraging - but afterwards came the news of the meeting
of the four statesmen.2
24. View of 60 Parkhill Road, Belsize Park, London.
I thank you also to have think of me about what to do when
it becomes dangerous. Yes Winifred had already been so kind to
offer me her house in that case.3
She intended to come this week here and speak about. But
work rapidly grew compatible with Mondrian's
afterwards all became moreand, with and I think she won't
dangerous
come now.
Hepworth, they frequently exhibited So I will write
together to her and ask the address. But I shall
(Fig.25).'0
Nicholson's advocacy was crucial wail
in asthe
long as establishment
I can to go from here. of
London as a centre of abstract art in the 1930s. Mondrian's I hope you both are getting on allright. And to see you again!
I can't still work; all is not yet arranged and the danger is too
arrival in England had been prepared for most notably by
great.
the publication in 1937 of Circle: International Survey of Warm greetings to Barbara
Constructive Art, edited byJ.L. Martin, Nicholson and Naum As always yours
Gabo, to which Mondrian had contributed an important Mondrian
Excuse corrections!
essay. 11
The letters provide information on the complementary 'Naum Gabo, whom Mondrian knew from Paris, had settled in London in
relationship between Mondrian's writing and his painting, 1936, and was, with BN and J.L. Martin, an editor of Circle. When Mondrian
and on his respective working procedures. Few paintings arrived in London, Gabo and his wife Miriam were living in Cholmley Gardens,
West Hampstead. For their reminiscences see HARRISON, loc.cit. at note 1 to the
can be said to be exclusively London products: an article, Introduction above.
like a painting, might be begun in Paris, taken up again 2The Munich conference, attended by Hitler, Mussolini, Daladier and Cham-
in London, and further modified in New York. The letters berlain, averted war in conceding Hitler's claims in Czechoslovakia.
3Bankshead, Winifred Nicholson's house on Hadrian's Wall in Cumberland.
also suggest the audience for whom Mondrian felt he was
writing. They reveal his perspective on the war, the abso-
lute nature of his commitment to his work, the small circle II. [24th September 1939]
of his friends, his scant and uncertain finances. A strong
60 Parkhill Rd.
sense of his character and idiosyncrasies emerges. Finally, London N.W.3.
the letters correct a widespread misconception: the Blitz 24 Sep.
did not drive Mondrian to New York. The fall of France
had convinced him he must leave, but it was only severalDear Barbara,
Thank you so much for your letter. Very nice that you and
months later, at the start of the bombing of London, that
he was able to do so. As Mondrian wrote to Nicholson
and Hepworth on arriving in New York, 'for Art it was
impossible to go on any longer, so I followed the way that
was open to New-York.'12

'TFor example, These, antithese, synthese, Kunstmuseum Luzern, 1935 (not BH);
Abstract and Concrete, Oxford, Liverpool, Cambridge, London (Lefevre Gallery)
(Fig.25), 1936; Tentoonstelling Abstracte Kunst, Stedelijk Museum, Amsterdam,
1938.
1'Plastic Art and Pure Plastic Art (Figurative Art and Non-Figurative Art)',
translated by Eric Roll, then Professor of Economics at Hull, with help from
Leslie Martin on the ideas expressed (information from Sir Leslie and Lady
Martin).
221st October 1940; on the same day Mondrian wrote in very similar terms to 25. View of the Abstract and Concrete exhibition of 1936 organised by Nicolete
Winifred Nicholson. Gray, the Lefevre Gallery, London.

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 MONDRIAN IN LONDON

I shall have tofor

Nicholson are thinking of me. But it is difficult do it. you
But I can't imagine that I should have to
to realise
my situation. Coming like the Gabo's is leave my pictures. About
impossible to me. the world
They situation, I am convinced
have money.' How should I move all my that Germany to
things will lose.
theAnd no Soviet Europe.
country:
I can't pay living there and keep my room You here.
thought I had worked. No. There was too much to do,
and the it
I am so glad you and Nicholson can manage impressions
there but too heavy.
youBut see within a week I hope to
that some money is necessary: I know begin.
by experience how much
time garden-culture takes.2 The best for you all from Mondrian
I am so late to answer you because I had Did you
soalso get back from
much to Paris
do.your Onlyworks? Perhaps they
are there
making the black-out with little costs took menot less safe as here.
2 weeks.
From time to time I see Stephenson.3 He is busy also.
You where so kind to ask me if I am 'The
alright
painter JeanforHelionmoney. For
was a close friend of Mondrian's in Paris. A great
the moment yes. But I think it will be catalyst and introducerlater
difficult of people (Winifred
on. And Nicholson and Mondrian for example),
perhaps then having money from abroad he invited BN and
will beBH to join the Paris-based group
impossible. I Abstraction Criation in 1933.
He was perhaps the most important link between France and the English avant-
don't see how you could help me: selling of pictures being
garde. He lived in the United States for extended periods from the early 1930s.
impossible. 'The young American artist Harry Holtzman had travelled to Paris in 1934 in
Please think my situation over and you will see that moving is order to meet Mondrian. In 1936 he was a founder member of the American
impossible to me. I don't speak of that that the country upsets Abstract Artists' group (AAA). He was Mondrian's sponsor for the move to
me.4 New York, and became Mondrian's executor. The regular instalments of money
With warm greetings to you both Yrs sent by Holtzman to Mondrian (ostensibly in advance payment for paintings)
Mondrian were vitally important in Mondrian's precarious existence.
I got my pictures back here from Paris!!!5

'Urged by BN and BH, the Gabos arrived in Carbis Bay a few days after IV.war
[12th November 1939]
was declared and they stayed until 1946. In 1938 Gabo's visit to the United
States in connexion with a one-man exhibition had led to sales of work; Miriam Piet Mondrian
Gabo had an allowance from her first husband. (Information from 60 Parkhill Rd.
Martin
Hammer.) London N.W.3.
2'Adrian [Stokes] and Barbara are concocting a market garden out of this place 12 Nov.
- rather a good idea, I think - we dig a good deal -' wrote BN to John
Summerson on 30th November 1939. With its large garden, Little Park Owles Dear Barbara,
had obvious potential in the 'Dig for Victory' campaign. On visits home,
Mondrian's father had customarily put his son to work in the parental garden
It was a pleasur to me to get your letter. And that you all are
(Piet Mondrian: Centennial Exhibition, exh.cat., Solomon R. Guggcnheim Museum, well, inspite of the depressive time. I do understand that you
New York [1971], p.30). are longing to take up your work. In this inperfect world we-
3As BN and BH's neighbour in no.6 Mall Studios, Cecil Stephenson was drawn inperfect too - must find our life by work, and we have a great
into their circle and exhibited abstract paintings alongside them in the 1930s. privilege that our work is a nice and good work. You know my
4... the country is impossible to me' Mondrian repeated in a letter to Winifred idea is that art w'ont be necessery when life has grown to its full
Nicholson of 4th October 1939. Mondrian's antipathy towards nature was development.
famous: the trees in the garden of 60 Parkhill Road, and a chestnut in particular, About the actual situation - I think it is - as Mr. Chamberlain
were victims of it (see Gabo in HARRISON, loc.ci. at note 1 to Introduction
said 'the result of the war will be to lay the foundations of a just
above, p.292; and the New Yorker [lst March 1941], p.10). There seems to have
been an element of self-parody in this, for Mondrian could write sensitively
and permanent peace.
about nature, as in his description of the chestnut yellowing in his first autumn In this prospect we can find rest amid the tumult and danger.
in London (see letter to Carel Mondriaan, 28th October 1938, quoted in HOEK, Yes, I was very glad that Mrs. Guggenheim sent me that
loc.ci. at note 3 to the Introduction above, p. 138). money. According to what you wrote me you have also done
5Mondrian took part in the second of a series of three exhibitions entitled something in this. Thank you very much -
Rialitis JNouvelles at Renaissance Plastique, Galerie Charpentier, Paris. The I had the visit of Mr. Read after I got the money. I promised
second exhibition ran from 30th June to 15th July 1939, and the third, in which him to finish the picture as soon as possible. After all what I
BN, BH and Stephenson were represented, from 17th to 31stJuly. changed on it, I am now fairly satisfied with the picture.1

III. [1st October 1939]

60 Parkhill Rd.
London N.W.3.
1 Oct

My dear Nicholson,
Many thanks for your letter. As I wrote to Barbara, I can't keep
my room and take another in the country. The war can be long.
Moving all my things is too expensive. I need the little money I
have for living here - Moving to America would be still more
difficult. You can't compare me with Gabos who has money -
The first week of the war I made, however, all inquiryes. All
boats where filled up. I had first to go to Holland; as Duchman
I have to take my visum there. The boats there where cancelled,
but that was the same to me because I could not go without
sufficient money for a long time in America.
Last year Sept. Hdlion has advised me not to come as I had not
a funds to live on for a time.1 And now Holtzman cabled me:
Are funds sufficient cable boat name use our apartment.2 Very
nice - but I have no funds sufficient. So I could not do it. You
can imagine what it cost to bring over what I have or to instal
me there - with the cable Holtzman sent me 150 Dollars / that
was very nice but how to live than in New York?? He is no
millionaire.
It is perhaps difficult for you to realise my position. But the
only way for me is to stay and this I prefer still above a moving
26. Composition 1938-39, by Piet Mondrian. Canvas mounted on wood support
to the country .. . fairly impossible. Only in utmost emergency mount, 109.1 by 106 cm. (The Peggy Guggenheim Collection, Venice).

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 MONDRIAN IN LONDON

I am finishing the others that you of pures

saw relations, that only can make an equilibrium - He ha
also.
But with my kind of health I must bought also one of my two Hannover museums pictures, rejecte
go slowly.
I am glad you found hirers for the by studios
Hitler. He did
and inclose
am aglad
good critic
you in which you also
can keep all the same one studio mentioned.
when you They say about back
come you: Other
inrecent acquisitions
London and you thus remain in my this collection include a painting
neighbourhood .... by
ifthe Englishman, Ben
all
will go well.2 Nicholson, whose abstract productions always have a character
I suppose Nicholson is good in his work and send him my best of their own; a composition by Picasso in crayon etc.4
wishes - That will do you pleasure, but perhaps you do know already
Warm greetings from Mondrian about.
Did you know about this R. Acadimi exhibition? But I think it Thank you also for the cards. The reproduction of my thing
is nothing for you or for Nicholson.3 is very good, I think. But in this war-time I can little do by
[Upside down next to the address] I am glad to see in the papers sending the circulars.5 The people I know in America you do
that Holland will fight against Germany when necessery.4 know also, and Holland is closed for paintings, I think. My
work here that you have seen is getting on good now. Also I got
'Composition 1938-39 (Composition with Red) (Fig.26); see A.Z. RUDENSTINE: Peggy the museum picture at last so that I am pleased with it; I have
Guggenheim Collection, Venice, New York [1985], pp. 560-65. Rudenstine here only to do the technical finish.
speculates that in 'cleaning' the painting in New York, Mondrian made further I was glad to have the greetings from Barbara, please do
alterations. The outbreak of war had prevented the establishment in London of mine to her.
the Museum of Modern Art planned by Peggy Guggenheim and Herbert Read
Affectionately yrs Mondrian
(who was to be director). At the time of Read's visit to Mondrian, Guggenheim
was in Paris, buying voraciously. (For her memories of Mondrian in London see
P.S. I forgot to tell you that I have had tea at Mr. Ody's and
her Confessions of an Art Addict, London [1960], pp.56-57.) Read, who had just that I was agreeably surprised to see so well hung the picture
resigned as editor of THE BURLINGTON MAGAZINE, had lived in no.3 Mall Studios you have of me.6 He must be a fine man for all in the studio was
between 1933 and late 1937, when he moved to his house near Beaconsfield. He so good arranged. Your studio is really in good hands!
wrote to BH and BN (2nd November 1939) of the visit to Mondrian: 'He I do see Stephenson also from time to time. He is also very
seemed very happy (he had already got Mrs G's cheque) but he hasn't done nice, but very bussy.
any work since the beginning of the war'. Greetings to the Gabos when you see them.
2'It is good news that Harry is taking No 7 - it is nice to keep it in the family, so
to speak.' (Herbert Read to BH and BN, 2nd November 1939). Henry Moore
'BN sold a landscape, George and Rufus, 1939, from an exhibition of Paintings and
took over no.7 Mall Studios from BH. No.3, where BN and BH's triplets had
Sculpture for Sale by Modern British Artists at the Leicester Galleries in November.
lived with their nurse after Read's move, was let to their friend Robert Ody, a On 30th November BN told Summerson that he had done '5 or 6 of the v.
solicitor.
small painted reliefs - an idea that they might post to U.S.A. and bring som
T The United Artists' Exhibition in aid of The Lord Mayor's Red Cross and St John
foreign exchange into the country.' He had just sent off two.
Fund and the Artists' General Benevolent Institution was held at the Royal
2Aged 35 and living in the United States, .Helion volunteered for the Frenc
Academy between 5thJanuary and 9th March 1940. BH showed 3 Forms, 1935,
army and was called up inJanuary 1940.
and BN Painting, 1933-36; Adrian Stokes also exhibited.
-The collector and painter A.E. Gallatin's pioneering Museum of Living A
4Neutral Holland was preparing to defend herself against the expected German
held a small Mondrian exhibition in its galleries at New York Universit
invasion, which did not in fact occur until May 1940.
Washington Square, from late October to 4th December. The seven painting
were hung in an alcove with works by Picasso and Gris from the collection
which focused on Cubism. Helion played a critical r6le in shaping the collecti
V. [6th December 1939] from 1932 and it was on his advice that Gallatin began to buy paintings from
Mondrian (see Albert Eugene Gallatin and his Circle, exh.cat., Lowe Art Museum
Piet Mondrian University of Miami [1986], pp.21 and 40). Gallatin's collection, including hi
60 Parkhill Rd. four Mondrians, is now in the Philadelphia Museum of Art.
London N.W.3. 4The painting from the Abstract Cabinet of the Hanover Landesmuseum wa
6 Dec. Composition with Blue (1926). Mondrian quotes from the New York Sun [Novembe
SIth 1939], p.9 (probably by Henry McBride). (Information from Gail Stavitsky.
The BN was Painting (1936).
Dear Nicholson, 5Two series of Circle postcards were produced. Circulars were sent to potenti
I was very glad to get your letter and to hear about you. I subscribers;
do 'I think they will sell more in USA than here as Circle is now a
understand that neither Barbara nor you have been well for aestablished fact there.' (BN to Alastair Morton, 4th December 1939, quoted i
time. It was the same with me. But as long as we can continueAlastair Morton and Edinburgh Weavers: Abstract Art and Textile Design 1935-4
our work we have, for us, no complaints, isn't? exh.cat., Scottish National Gallery of Modern Art, Edinburgh [1978], p.33.)
I am glad you sold something and hope your American 6Composition 2 (with red and blue), 1937, now in the Musde national d'art modern
Paris, cat.no.394 in M. SEUPHOR: Piet Mondrian: Sa vie, son euvre, Paris [195
sending will succeed also.' Yes, I was very glad that Mrs Gugen-
[1956]) 'One day he brought us a present of a recent painting, a most genero
heim sent me money for the picture. I think that I may tell you
gift . . .' (BN quoted in HARRISON, loc.cit. at note 1 to Introduction abov
that it was fifty pounds. Later Mr. Read asked me if I was
p.290).
content with it. I said yes, because I had not expect it at all for I
know there was no money. Though Mr. Read himself had not
VI. [17th February 1940]
much time coming just before black-out, I was sorry that I did
not have it neither, because I was down in the basement where
Piet Mondrian
Lepinier lived and now are a White Russ with his wife, nice
60 Parkhill Rd.
elderly people. They had asked me for tea and where waiting
for me to drink it. Lepinier has gone to Bristol where he works London N.W.3.
17.2.40
at the air-ministery. Some other people have left in the beginning
of the war, so the neighbour old lady. That room remained
empty. Dear Nicholson and Barbara,
Last that Russian people had burglers on plain day, we all
I was very glad to get your cards and to hear you found a house
where out. They left a door open, and some little silver statueswith working conditions.' I thought there was only water at St
where stolen. They have a trade with America in antique things! Ives! One good thing is that it is a warm climate. I could not
Modern and past - in one house! But they do it for the living; he
well read the name of whom had flu; I hope it is better now. I
was formerly officer in the Rus. army. heard Ben has two landscapes at Lefevre Gallerie and intended
This about no.60. to go and see.2 But it was always very difficuld by different
Just I got a postcard from the Hielions. They where well and
conditions. I feel much better but the noises in ear are not quite
waiting about the mil. service. I think he is too old to begone."
called,But upon the whole I am much better than last year.
and too far off. 2 Even I began a new composition (small) and also an article in
relation
Then I had a nice letter from Mr. Gallatin, telling me thatwith the world situation: 'Art shows the Evil of Totali-
now he had arranged an exhibition of my work, what tarian
he hasTendences.' Perhaps it may be of any use. When it is
and in loan from others.3 I have thus no advantage by it,readybut it
I should like to send it up to you and would ask Barbara
is nice to hear that in this time there is to see an pure expression
if she would change what is not good English. Perhaps we could
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 MONDRIAN IN LONDON

find a revue that would take it. (ofbetter now. I without

coarse am glad also that you can work
paying) / again.
I
Yesterday I had the visit of Mr. Ramsden and the lady where
try to make it as popular as possible.*4
she iswireless
I did not yet see the report of Gabos staying.' She told
talkmy that
but sheI liked very much your latest
think
work. From Nicholson she had seen only photos. I can imagen
wireless is for everybody and Art is not.5
I also had a card from Helion's wife. that it must
But be good / his
I think I liked your latest
first duty projets I saw when
was towards his Art and Wife and Baby. In any case: he had to
you were here.
follow destin's pressure - I am so late to answer you because my article kept me. It was
Mr Oddie has bought on instalments the little
very difficult picture
to defend our Art and I to had
offend not others. But at
at Guggenheims exh. here -6 last I succeded I think fairly well. I think it can be for a larger
I got also an instalment from Holtzman. public than that of Circle. But still it is not for a great public. In
I am always glad to hear from you. any case I am glad that I made it. I had something needly [?] to
Best wishes from Mondrian say. It is so depressing to see that people not advance. I saw that
*But mostly I am trying to get the old pictures better. new Disney film: a mixture of good and bad and an archaic
moral -2
'BN and BH moved into Dunluce, Carbis Bay after Christmas 1939. In a letter I dont know what to do with the article: I think it is not for
an revue. Perhaps it is also good for America. It is longer than I
toJohn Summerson, 28th December 1939, BN described it as 'rather nice, light,
and rather a lovely landscape of villas and trees and country and the sea inintended:
the about 20 pag. writing.
furthest distance - '. BH was unable to carve there, however.
I should like you and Nicholson would read it.* And if it is not
2Art of Today: Some Trends in British Painting, Alex. Reid and Lefevre, London,
too much work, that you would change what is not English. I
January-February 1940. This was Lefevre's first exhibition sinceJuly 1939 and
tryed to make it in news-paper style, very simple.3 But it must,
it was catholic in range: artists included Augustus John, Lowry, Sickert, Paul
of course, be English - It is ready now but it will take me still
Nash, Hitchens, Piper, Stokes, Margaret Mellis. BN showed Halse Town, Cornwall
(versions 1 and 2). about 2 weeks before I have worked and thought it over -
3Cecil Stephenson wrote to BN on 8th January 1940: 'Poor old Mondrian is not More than a month I did not painting; I nearly regretted
that I began the article, but I am glad that I did it.
too well at present . . . He seemed much more infirm generally, but quite
cheerful and apparently happy.' Thank you that you thought about my finances; I think it
4This article had a complex and lengthy evolution. A manuscript dated May will go on with that. I had also some little presents from friends
1940 bears the modified title 'Art shows the Evil of Nazi and Soviet Oppressive
and brothers in Holland. Now I say you good-by, best love from
Tendencies'. Its opening section, later deleted by Mondrian, is published in Mondrian
The
New Art - The New Life: The Collected Writings of Piet Mondrian, ed. and trans. by
H. HOLTZMAN and M.S. JAMES, London [1987], pp.320-22. Mondrian continued
*and tell me what you think of it and what I shall do with it.
[in margin]
to develop the article in New York, and it was first published as 'Liberation Mr. Ramsden and her lady friend are very nic
people
from Oppression in Art and Life' in the posthumous collection of his essays in -
English ('Plastic Art and Pure Plastic Art' 1937 and other essays, 1941-1943, New York
[1945]). Also related are 'A New Religion?' and some of the miscellaneous notes
IE.H. Ramsden and Margot Eates. Ramsdcn's An Introduction to Modern Art was
found in a folder after Mondrian's death (both in HOLTZMAN and JAMES, op.cit.
published in 1940. It contained a not uncritical discussion of the 'Gabo-Mondrian
above, pp.318-19 and pp.377-80). group'. In 1942 Ramsden organised New Movements in Art: Contemporary Work in
In a letter to Holtzman of 6th May 1940, Mondrian related the essay back to
England at the London Museum, which included two Mondrians. BN was
the 'book' he had laboured on in Paris. The 1931 typescript (entitled 'The New
consulted on the selection of works. He was well represented in the exhibition,
Art - The New Life: The Culture of Pure Relationships', see HOLTZMAN and as was BH.
JAMES, ibid., pp.245-76) reveals it to have been a major and wide-ranging work,
2Pinocchio opened in London in multiplane technicolor at the New Gallery
sharing many points of contact with the later essay. Mondrian returned to it
Picture Theatre, Regent Street on 18th March. As an allegory of good triumphing
intermittently in the 1930s (see, for example, letter to Gorin, 6th October 1933,
over evil and an example of dreams coming true, it was very welcome in
in BOIs, loc.cit. at note 7 to the Introduction above, p. 130; to Winifred Nicholson,
wartime London. A Listener editorial of 25th January 1940 noted that a Disney
8th July 1935, in NICHOLSON, op.cit. at note 1 to the Introduction above, p. character
112; might strike a 'shrewder, subtler anti-Nazi blow than do some of the
and to BN, 21st April 1938). 'Then the last summer I was in Paris I began more imposing propaganda films . . .' (loc.cit. p.160). Mondrian's passion for
again, but then I went to London and since I did not write. Now I succeeded Disney has recently been revealed with the publication of a letter and postcards
better I think. I have still to copy it and send it to the Nicholsons to ask what
sent from London to his brother Carel. In these he describes events and friends
they think of it. His wife will correct the English and perhaps they know a in
wayterms of Snow White (see HOEK, loc.cit. at note 3 to Introduction above).
to publish it.' (Letter to Holtzman, 6th May 1940, quoted in HOLTZMAN and 3The popular style Mondrian sought is evident in, for example, the punchy sub-
JAMES, op.cit. at note 4 above, p.245.) This was a reference to Barbara,heading
not 'The Facts. Art Killed' in the May 1940 MS (HOLTZMAN and JAMES,
Winifred as the editors suggest. Although Mondrian would have liked to have
op.cit. at note 4 to letter VI above, p.321). Mondrian perhaps took his cue from
sent the article to Winifred, he thought it more practical to send it to BNa (see
newspaper such as the Evening Standard, which he read.
letter to Winifred, 29th March 1940). He had been very happy with her
translation of an essay rejected by the review Axis in 1935 (see HOLTZMAN and
JAMES, ibid., pp.283-85).
5Gabo's eloquent defence of constructive art was broadcast on 15th January
1940 and published in The Listener, vol.XXIII, no.576 [25th January 1940], VIII. [14th April 1940]
pp. 163-65. He was taking part in a discussion with William Coldstream called
'Centre Party v. Left Wing' in the series 'The Artist in the Witness Box'.PietThe Mondrian
chairman, Eric Newton, presented the series as a trial of the Fine Arts for their
60 Parkhill Rd.
alleged divorce from life. London N.W.3.
6Abstract composition, 1939 (not in Seuphor); M.G. OTTOLENGHI: L'Opera Completa
14.4.
di Mondrian, Milan [1974], no.445). Entitled Composition of white, red, blue and
yellow in the catalogue of the exhibition Abstract and Concrete Art at Peggy
Guggenheim's Guggenheim Jeune gallery, Cork Street, London, 10th-27th Dear Barbara,
I just intended to write to you when your card came. I am glad
May 1939 (cat. published in London Bulletin, no.14 [1st May 1939]). Mondrian
that
also showed Composition of red and white, very probably the painting Guggenheim it was a pleasure to you to see my work so well reproduced
in Mr. Gallatins book. To me it was also a great surprise.'
bought later that year (see RUDENSTINE, op.cit. at note 1 to letter IV above,
p.565). The exhibition included works by Arp, Calder, Van Doesburg, Gabo, So nice to see that Art goes on in this dark time.
Hdlion, Hepworth, Kandinsky, Nicholson, Vantongerloo. I intended to tell you that I was returned to my painting
after such a long writing and studiing time. I had so much to
say but shall keep most of it for later in an other article or
VII. [26th March 1940] brochure.
I found a way to make a short more popular article and shall
P. Mondrian take it up now so that I hope I can send it to you in a fortnight.
60 Parkhill Rd. After your card I have a little more courage to return to the
London N.W.3. writing! But it was refreshing for my painting, I noticed. With
26-3-40 best whishes to you both, Yrs Mondrian

Dear Barbara, 'Gallatin's four Mondrians had pride of place in the 1940 edition of the Museum
I was very pleased to get your letter and to hear the child of
isLiving Art catalogue, being the only works reproduced in c~lour.

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 MONDRIAN IN LONDON

IX. [16th May 1940] Yrs Mondrian

[upside down at top of letter] Just Mr. Ody came in. I had lend him
Piet Mondrian that Partisan Review. He told me that there in was something
60 Parkhill Rd. that we don't agree. That is a pitty. I read only one critic on
London N.W.3. Maratain that I did like.2
16.5. [in left margin] How will Helion be now!3
[in right margin] Did you read the Nazi atrocitys in Holland in
Dear Barbara and Nicholson, the Evening Standard?4
It was a great joy to me to get this morning your letters. Thank
you so much for your friendship. It was also heartening to me to
see that also you kept the confidence in humanity's futur'The- in
painter and critic George L.K. Morris was closely allied with Gallatin.
spite of the terrible events. Morris was a founder member (like Holtzman) and spokesman for the AAA
group,at
It was nice of you to think also about my personal feelings which Mondrian joined in New York. He had known Mondrian and BN
the sad fate of Holland and the situation of my friends andfor some
two years, and his painting of 1940 was influenced by both (see M.A.
brothers there. I did not hear anything of them - I hopeLORENz:
all is George L.K. Morris: Artist and Critic, Michigan [1982], pp.79-80). Morris.
well. owned works by Mondrian and BN and was probably BN's closest connexion in
America; he introduced art criticism into Partisan Review with a discussion of
Inspite of all I was glad that Holland is at our side. Now we
Circle ('Modernism in England', vol.IV, no.I [December 1937], pp.69-70). In
could not keep the coast, the danger for us here is of thiscourse
Mondrian's contribution was described as 'the most lucid key to a painter's
greater. Most of all I am concerned about the great battleintentions that this reviewer has encountered'. An editor of Partisan Review,
desisive that is going on. Morris put up much of the money behind it. However, Mondrian's article was
Yes, I had a shoc this week and I appreciate very much you
never to be published there for Morris wanted it shortened: 'it was absolutely
felt it. unreadable' he recalled (in an interview with V.P. REMBERT: Mondrian, America,
Happely my article was finished / I am copying it but changing and American Painting, unpublished doctoral dissertation, Columbia University,
1970, p.101). Mondrian refused. For Holtzman's account of the episode see his
it a little sometimes that I have to copy it again before I can
introduction to HOLTZMAN and JAMES, op.cit. at note 4 to letter VI above, pp.6-7.
send it to you.
As Mondrian reported it to BN and BH, Morris told him that Partisan Review
In this tension I better can paint than write. found it a good article but that 'the English was not good enough!' (letter of 4th
I made several new compositions while the others are not yet January 1941).
finished. I work not too much but constantly. 2Morris had sent the May-June 1940 issue (vol.VII, no.3), containing 'The
Thanks so much you thought also of my material conditions. Integral Humanism ofJacques Maritain' by Sidney Hook, professor of Philosophy
Probably I will lose some help I had sometimes from Holland. at New York University and an important figure in Partisan Review. Hook's
But I got an instalment from Holtzman for another picture - of essay was a powerful and closely argued critique of the Catholic philosopher
cours in advance. Very nice of him. Maritain from a Marxist stance. Ody perhaps objected to the line taken by
Now my dear friends, good by. Dwight Macdonald that this was an imperialist war, with nothing to choose
between the iniquitous Chamberlain System and the Berlin-Rome-Moscow axis
My best wishes for You and the children and work -
Yours Mondrian ('Notes on a Strange War'; see also 'Paris Letter' in the same issue). Morris also
contributed a piece on how the Museum of Modern Art had failed the avant-
[in margin] I saw in the papers here that Holland alreadygarde.
more
or less is tyrannised by the Nazis!' S3The letter was written during the battle of France. Paris was occupied on 14th
June and Hdlion taken prisoner on the 19th.
'With the German invasion, the neutral Netherlands became a British ally. only) Evening Standard for 23rd May carried a graphic first-hand
4The (London
However, occupation was rapidly completed by 16th May. The Eveningaccount,
Standard
'How Nazis treat the Conquered'. The Nazi subjection of Holland was
for that day reported the arrival in Amsterdam of Gestapo chief Himmler and of its editorial on 30th May.
also the subject
the drafting into Holland of large contingents of Gestapo men and S.S. troops.

X. [11th June 1940] XI. [4thJuly 1940]

P. Mondrian P. Mondrian
60 Parkhill Rd. 60 Parkhill Rd.
London N.W.3. London N.W.3.
11 june 4 July 40

Dear Barbara and Nicholson, Dear Barbara,

You will have already understood by the war-events that I Nice you wrote me. I answer a day later because yesterday I
gave upp for the moment my article. My idea was to leave it for was with Ody's and Stephenson at the Townhall for the mariage.'
later, because the tension is too great now. It is now onley who Yes, I am trying to get to New-York. But I fear it will be too
is the strongest - I hope we - And I have still confidence. late; I have to wait for the visa.
But now a week ago I got a letter from Mr. Morris. When I Since the fall of Paris I am very pessimist; therefore I did not
thanked Mr. Gallatin for his book, I told him that I was writing. write you. Perhaps Britain can hold it -
He said it to Mr. Morris and so this asked me the article for the For you all the situation is still more difficult with the children.
Partisan Review.' He sent me a number of it and I do like that It seems to be not safer in the country than here.
review.
But the bombing danger is to overcome, I think: it is a
So I set me at work again to copy out the first part. chance.
ThereThe great danger for us is about our work: might the
was no time to send it up to you. Mr. Ody was so kind to correct
Nazis come in, What then? My article won't do me much good,
it and now it is on the way to New-York. I hope Mr. Morris will But I am glad I made it and could say what I had to
neither.
like it. I think in America it can be usefull. say. I sent two parts, time ago. The latest part I can't complete
I am more or less content with the article, it is well studyed.
now; as you said it is impossible to do creative work now. Since
I shall finish now also the second part, one never knowsPariswhatfall I did no painting neither. Arranged my things a little.
happens - I often think of you and Nicholson. He was right to be so
With my painting I made also some progress. But my health pessimist in the beginning of the War.
was not good and I have had anew Dr. Coburn. Fortunately However there cannot be danger for Human's Progress, and
there was nothing serious. for we make part of it, perhaps it will turn good.
I hope the bombing will not be too much and I can stay here. I was too depressed to go and see Lefevre's exhibition.2
Otherwise it will be better that I go for short time out of I shall write you if I succeed.
London; but where? Cornwall and Cumberland is so far. Happely Best to you all, yrs
I have still some money. Mondrian
I shall be very glad to hear how you are going on, and send What are the Gabos doing? I wonder that they did not go to th
you my best wishes and friendship. U.S.3

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 MONDRIAN IN LONDON

visa by the care of Holtzman. I only have to wait until the Duc
A. . I number is available and then for an sailing.
I heard from Ody that Barbara and the children intend to go
also to the U.S.1
I feel your difficult position but can not give you any consei
- /~i 4 a I also was in difficulty about going or staying here but it seem
that it is my way to go.
I shall be very glad if you could send me some words about
rr7 your self.
Warm greetings from
Mondrian

`"07 IOffers from America to take in and guarantee BH and the triplets were
considered, but decided against.

knu

XIII (Fig.27). [13th September 1940]

60 Parkhill Rd.
N.W.3.
13 Sept. '40
m41.a. A/t
P~~~ 1:7__ My dear Barbara and Nicholson,
I am so sorry I could not write you earlyer. First I suffered fr
gastrix-troubles which came back. Every week I was at t
doctor (Stephenson's doctor because your doctor was awa
Nearly better I got a little fishbone in the throat that bother
i - r2,
me much. Then my windows were blown in (fortunately I h
my blackout but shutters were blown half open all the same
by a bomb a little farther in Parkhill rd. I was on bed but h
only dust in a eye. Lucky!1
Then there is still quite near a time-bomb. Fortunately I h
arranged all and yesterday I took my valises out up here
Ormonde-H6tel (in the basement of my house I caught a cold
where I stay untill I go.2 If all goes well in a few days. H
27. Letter dated 13th September 1940 from Piet Mondrian to Barbara
there is a good shelter under the h6tel. Then a new dang
Hepworth and Ben Nicholson. (Tate Gallery Archive, London). comes -

I shall write you of course when I am arrive

About your relief I am sory but I have my
[in margin] Ody was very helpfull with getting my papers etc in
already sealed by London so I cannot p
order. Neither I could take Barbaras sculpture - all n
I see only Stephenson, Ody is gone to a sub
'Mondrian and Stephenson were witnesses at Ody's marriage. Glad you are well.
2Modern English Painting: Recent Works by John Armstrong, Ben Nicholson,Best
John greetings to the Gabos I intended to
there isJune-
Piper, Graham Sutherland, Julian Trevelyan, John Tunnard, Edward Wadsworth, too much to do.
Your
July 1940: 'the contrasts are good' wrote BN to Summerson, 13th May studio N:3 is little damaged untill here. Of course I
1940.
BN showed 12 works, abstract and representational (and both). shall support your exhibition idea in New-York: I suggested it
3The Gabos seriously considered going to the U.S., even booking tickets (infor-
already my self to Stephenson.
mation from Martin Hammer; extracts from Gabo's diaries for July,
YoursSt Ives
old friend Mondrian.
1939-64: Twenty Five Years qf Painting, Sculpture and Pottery, exh.cat., Tate Gallery,
[1985], p. 101). In fact, they did not go until 1946.
I believe in our end victory!
[in margins] Please show my letter to the Gabos.
I do like your photo of relief only I should like the big round
XII. [8th August 1940] a little otherwise placed: it goes to the left
Ody will take yours things in N:3.
P. Mondrian
'The indiscriminate aerial bombing of London began on 7th September 1940.
60 Parkhill Rd.
Hampstead was first hit on the morning of 9th September, when a high explosive
London N.W.3. bomb fell on Parkhill Road (on the other side and several houses along from
8 August '40 no.60, damaging the windows of houses opposite) and several others fell nearby
(see Hampstead News, 12th September 1940; and Hampstead at War: Hampstead
Dear Nicholson and Barbara, 1939-1945, Hampstead Borough Council [n.d.; c. 1946], pp.7-9, which mistakenly
says that no.38 was hit). During the first month of the bombing, 49 people were
I should have liked to write you earlyer but you will understand
killed in Hampstead. The two houses next door to Mondrian's on the corner of
that I had a bussy and troublesome time. Tasker Road, nos.56 and 58, were bombed, but not, it seems, until October,
In addision I suffered from intestines-troubles causedafterby the
his departure for America (evidence from rate books; the Civil Defence
liver but unfortunately I feel nearly alright now - Dr. Coburn wasrecords have been destroyed).
incident
away and the doctor who replaced him I did not like so 2The much.Ormonde Hotel was at 12 Belsize Grove. Mondrian had stayed there
At last I found in Stephenson's doctor a good one. when he first arrived in London. He now stayed for two weeks, until there was a
In meantime you will have heard by Ody that I got the boatAm.
from Liverpool.

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