Lozenge Composition with Yellow, Black, Blue, Red, and Gray

Hartford, Wadsworth Atheneum, Abstract Art: Gabo Pevsner Mondrian Domela, 1935. Amsterdam, Stedelijk Museum, Piet Mondrian, November-December 1946, no. 110; traveled to Basel, Kunsthalle, February 6-March 2, 1947, no. 13. New York, Museum of Modern Art, Selections from Five New York Private Collections, Summer 1951. New York, Sidney Janis Gallery, Piet Mondrian, February 5-March 17, 1951, no. 21. Chicago, Art Institute, Mondrian: The Process Works, October 3-November 8, 1970, no. 5. Washington, D.C., National Gallery of Art, Mondrian: The Diamond Compositions, July 1-September 16, 1979, no.5. Haags, Gemeentemuseum, Piet Mondrian, December 18, 1994-April 30, 1995; traveled to Washington, National Gallery of Art, June 11-September 4, 1995, and New York, Museum of Modern Art, October 1, 1995-January 23, 1996, cat. no. 95 (ill.). Chicago, Terra Museum of American Art, A Transatlantic Avant-Garde: American Artists in Paris, 1918–1939, April 17–June 27, 2004. The Art Institute of Chicago, Henri Cartier-Bresson and the Art and Photography of Paris, September 20, 2008–January 4, 2009. Paris, Centre Pompidou, Musée National d'art moderne, Mondrian, December 1, 2010–March 21, 2011, p. 223. Art Institute of Chicago, Revoliutsiia! Demonstratsiia! Soviet Art Put to the Test, October 29, 2017–January 15, 2018, cat. 540. Art Institute of Chicago, André Kertész: Postcards from Paris, Oct. 2, 2021–Jan. 17, 2022, not in cat.; Atlanta, High Museum of Art, Feb. 18–May 29, 2022 (Chicago only).

Henry McBride, “Rockefeller, Whitney, Senior, Odets, Colin,” Art News 50 (June/August 1951), 34 ff. (ill.). Michel Seuphor, Piet Mondrian: Life and Work (New York, 1956), p. 392, no. 400. Ottavio Morisani, L’Abstrattismo die Piet Mondrian (Venice, 1956), no. 66. The Art Institute, Paintings of the Art Institute of Chicago (Chicago, 1961), pp. 317, 342 (ill.). Carlo L. Ragghianti, Mondrian e l’arte del XX secolo (Milan, 1962), 334, no. 568. El Mundo de Los Museos, Instituto de Arte de Chicago (Madrid, 1967), 79 (ill.). L’Opera completa di Mondrian, Classici dell’Arte 77 (Milan, 1974), 108, no. 336. A. James Speyer and Courtney Graham Donnell, Twentieth-Century European Paintings (Chicago, 1980), p. 58, no. 3A6. Impressionist and Modern Paintings and Sculpture (Part I) (New York: Christie's, Tuesday, May 15, 1990), 152. John Milner, Piet Mondrian (London, 1992), 164-165 (ill.). Carel Blotkamp, Mondrian: The Art of Destruction (London, 1994), pl. 131. James N. Wood and Teri J. Edelstein, The Art Institute of Chicago: Twentieth-Century Painting and Sculpture (Chicago, 1996), 49 (ill.). Briony Fer, On Abstract Art (New Haven, 1996), 50-52 (ill.). Joop M. Joosten, Piet Mondrian: Catalogue Raisonné of the Work of 1911-1944 (New York, 1998), no. B127, 48 (ill.), 295. James N. Wood, Treasures from the Art Institute of Chicago (Chicago, 2000), 259 (ill.). Matthew S. Witkovsky and Devin Fore, ed. Revoliutsiia! Demonstratsiia! Soviet Art Put to the Text. Exh. Cat. Art Institute of Chicago, 2017, 312, cat. 540. Andreas Beitin and René Zechlin, Re-Inventing Piet. Mondrian and the Consequences, exh. cat. (Wolfsburg, Germany: Kunstmuseum Wolfsburg, 2023), 260 (color ill.). James Rondeau, Paintings at the Art Institute of Chicago: Highlights of the Collection (Chicago: The Art Institute of Chicago, 2025), 113 (color ill.).