Mondrian’s “New York City I”: The Painting Hung Upside Down for 75 Years

In a stunning revelation that has captured the art world’s attention, an art historian has discovered that Piet Mondrian’s iconic abstract painting New York City I has likely been displayed upside down for the past 75 years. Despite the mounting evidence pointing to this error, the painting remains hung as is to protect its fragile condition, leading to an intriguing dialogue about art, perception, and preservation.

The Discovery: A 75-Year-Old Orientation Mistake

The painting New York City I, created by Mondrian in 1941, is a distinctive work featuring colored adhesive tapes in a grid pattern that represents an abstract cityscape. It was first exhibited in 1945 at the Museum of Modern Art (MoMA) in New York and has since been part of the Kunstsammlung Nordrhein-Westfalen (K20) collection in Düsseldorf, Germany. Curator Susanne Meyer-Büser was researching the museum’s upcoming exhibition, "Mondrian: Evolution," when she noticed something curious—the thickening of the lines in the composition appeared to be on the bottom rather than the top Town & Country.

Investigating further, Meyer-Büser found photographic evidence from a 1944 issue of Town & Country showing the work in the artist’s studio positioned with the thick lines at the top, indicating the painting was intended to be hung the other way around. A related Mondrian painting titled New York City, displayed at Paris’s Centre Pompidou, also features line thickening at the upper edge, consistent with this theory.

Why Not Turn It Right Side Up?

Though the mistake appears straightforward, the painting will remain in its upside-down orientation for safety reasons. New York City I is crafted from delicate adhesive tapes that have loosened and are barely hanging on. Any attempt to flip the work risks damaging these fragile materials.

Meyer-Büser has stated, “The adhesive tapes are already extremely loose and hanging by a thread. If you were to turn it upside down now, gravity would pull it into another direction” BBC News. This fragile state means the current display orientation—while historically inaccurate—has become part of the painting’s story.

The Artistic and Curatorial Debate

This discovery has sparked debate among art historians and curators. Some argue that since Mondrian did not finish or sign the painting before his death in 1944, there might have been further work or decisions about orientation pending. Harry Cooper, a curator at the National Gallery of Art, commented that having the painting on an easel in a studio photo does not conclusively prove the artist’s final intent New York Times.

Nevertheless, Meyer-Büser’s research combining photographic documentation, style comparisons, and physical examination of tape layering presents a compelling case for the upside-down display.

Mondrian’s Unique Use of Materials Adds Complexities

Unlike traditional painting, New York City I was created using adhesive tape on canvas—a fragile and unconventional medium at the time. This choice contributes to conservation challenges. The layering of tape from top to bottom further confirmed that the current bottom-heavy orientation is reversed from Mondrian’s original application sequence.

Broader Implications and Public Fascination

The story of New York City I invites reflection on how artworks are experienced and preserved. Should museums change mistakes that alter the narrative or preserve historical state even if it’s technically “incorrect”? This question is especially relevant for fragile modern works where restoration can be risky.

Public and collector interest in Mondrian’s work remains intense, with his paintings fetching tens of millions at auction and celebrated through exhibitions worldwide. The Mondrian: Evolution exhibition at K20, running through early 2023, has brought new attention to early Mondrian experiments including this tape-based grid work ArtNet News.

References for Further Exploration

• In-depth article by Town & Country about the orientation discovery

• BBC News coverage on the upside-down painting and its fragility

• New York Times exploration of the ongoing debate around the painting's orientation

Frequently Asked Questions (FAQ)

Q1: How was the upside-down display of Mondrian’s New York City I discovered?
A1: German curator Susanne Meyer-Büser noticed inconsistencies during research and found photographic proof from 1944 showing the painting inverted compared to its current display.

Q2: Why hasn’t the painting been corrected?
A2: The artwork is extremely fragile, made from adhesive tapes that have loosened. Flipping it risks severe damage, so the museum opts to preserve it as is.

Q3: Is it common for artworks to be displayed incorrectly?
A3: While rare, errors can happen especially with unsigned or unfinished works. Orientation is often inferred from signatures, framing, or artist’s notes.

Q4: Did Mondrian finish New York City I?
A4: No, the painting was unfinished and unsigned at his death in 1944, complicating the interpretation of its final intended orientation.

Q5: What does the thickening of the lines signify?
A5: It is believed the thickened lines at the top represent a darker “sky” over the cityscape, consistent with Mondrian’s style and the related painting New York City.

Q6: Where is New York City I currently displayed?
A6: It is housed at the Kunstsammlung Nordrhein-Westfalen (K20) in Düsseldorf, Germany, and featured in the Mondrian: Evolution exhibition.

The intriguing case of New York City I not only reveals the challenges of art preservation but also keeps alive the dialogue about artistic intent and experience. Piet Mondrian’s legacy continues to inspire, provoke, and captivate audiences worldwide—sometimes from unexpected perspectives, quite literally upside down.