In 1943 the unitary synthesis is no longer a white, yellow, red or blue square marked out with black lines as we have seen throughout the whole european Neoplastic phase.

For the first time, the unitary synthesis is an asymmetric plane made up simultaneously of the three primary colors; a free and unpredictable interplay of form that depends on the respective qualities and quantities of the colors.

After 35 years of patient work, the separation Mondrian had used in all his previous works between "non-color", that is to say white, gray and black (a symbol for the spiritual) and color - yellow, red and blue - (a symbol for the natural) is finally abolished; with Broadway Boogie Woogie the natural and the spiritual visibly become one.

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New York City, 1942

Diagram 1

Broadway Boogie Woogie, 1942-43

Diagram 2

Diagram 3

Diagram 4

      

Broadway Boogie Woogie should be seen in close relation to the preceding canvas New York City.

 

Comparison of the two paintings shows uninterrupted yellow, red, and blue lines, i.e. a space of virtually infinite expansion (New York City) compenetrating in a multitude of small squares (Diagrams 1) and then generating Broadway Boogie Woogie.

  

The small squares grow into monochromatic and two-colored planes.

  

The two-colored planes become one plane constituting a synthesis of the initial space made of infinite yellow, red and blue lines.

  

The geometry of Broadway Boogie Woogie undergoes transformation from a condition of multiplicity to one of unity, from the many to the one.

    
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