Mondrian’s Composition No. 1 with Grey and Red Returns to Venice After a Major Restoration
The conservation of works of art is not merely a technical practice; it is also an essential tool for deepening our understanding of the great masters of the twentieth century. This is demonstrated by the recent restoration project dedicated to one of the most important artworks in the Peggy Guggenheim Collection in Venice: Composition No. 1 with Grey and Red 1938 / Composition with Red 1939 by Piet Mondrian.
After more than five years of research, scientific analysis, and conservation work, the celebrated painting by the Dutch artist is once again on public view, offering a renewed interpretation of its complex creative history. The artwork is currently featured in the exhibition Peggy Guggenheim in London: The Making of a Collector, on display in Venice until October 19, 2026.
The Guggenheim Collection in Venice and Research on Modern Masterpieces
In recent years, the Peggy Guggenheim Collection has distinguished itself through major research and conservation projects focused on some of the most significant works in its holdings. These initiatives have included restorations of masterpieces by Jackson Pollock, Pablo Picasso, and Marcel Duchamp.
The restoration of Mondrian’s painting forms part of this broader commitment to preserving and enhancing artistic heritage. The project has provided new insights into the creative process of one of the leading figures of modern abstraction.
Mondrian in London:
The Creation of a Masterpiece
The painting was created between 1938 and 1940 during Mondrian’s stay in London, a period marked by growing political tensions and the imminent outbreak of the Second World War.
During these years, the artist pushed his Neo-Plastic ideals to their limits, developing compositions based on the balance of vertical and horizontal lines, white surfaces, and primary colours. His aim was to create a universal visual language capable of expressing harmony and order through essential forms, free from references to the natural world.
One of the most intriguing aspects of the work concerns its double title. The designation Composition No. 1 with Grey and Red refers to an earlier version of the painting that included a small grey rectangle later removed by Mondrian. This modification has fascinated scholars for decades and has now been further clarified through the recent conservation campaign.
Piet Mondrian, Composition n. 1 with grey and red, 1938.
Photo Sailko. Wikimedia Commons, license CC BY-SA 3.0
The Relationship Between Mondrian and Peggy Guggenheim
The history of the painting is closely linked to that of Peggy Guggenheim herself. It was in London in 1938 that the American collector first encountered Mondrian’s work and became deeply fascinated by it.
The Dutch artist soon became a central figure within the avant-garde circles surrounding Guggenheim during the years preceding the war. Through her relationship with Mondrian and other leading innovators of the period, she developed a profound appreciation for abstraction and European modernism.
In November 1939, Guggenheim acquired the painting while it was still being refined by the artist. The work thus became one of the most significant testimonies to the relationship between one of the twentieth century’s most influential collectors and one of the pioneers of abstract art.
The painting was later exhibited at the historic 1948 Venice Biennale, when Guggenheim presented part of her collection in the Greek Pavilion alongside works by artists who would come to define post-war art.
What the Restoration Revealed
The project, launched in 2021 by the conservation department of the Peggy Guggenheim Collection in collaboration with the Solomon R. Guggenheim Museum in New York and several international research institutions, aimed to better understand the transformations the painting had undergone over time.
Researchers focused particularly on a major conservation treatment carried out in 1968, during which the work was cleaned, varnished, relined, and mounted onto a new support. While these interventions ensured the painting’s preservation, they also altered some of the visual effects originally intended by Mondrian.
The investigation revealed that the iconic black lines are far more than graphic elements. Mondrian conceived them as glossy, dynamic surfaces capable of reflecting light and influencing spatial perception within the composition.
Thanks to advanced cleaning methods, conservators were able to restore the delicate balance between matte and reflective surfaces, recovering a visual depth much closer to the artist’s original vision.
Peggy Guggenheim Collection. Photo Jean-Pierre Dalbéra. Wikimedia Commons, license CC BY-SA 2.0
Technology and Scientific Research in the Service of Art
Scientific analysis played a crucial role throughout the project. Non-invasive diagnostic techniques carried out by specialized laboratories and European research infrastructures provided unprecedented information about the painting’s construction.
The studies uncovered compositional changes, revisions, and traces of earlier stages of the work, confirming that Mondrian frequently revisited his paintings in pursuit of perfect formal balance.
These findings reinforce the image of an artist deeply committed to refinement, continuously reworking his compositions until achieving the harmony he sought.
Comparing Mondrian with Mondrian
Another important aspect of the project involved the comparison of more than twenty paintings created by Mondrian during his London and New York years, now housed in major international institutions including the Museum of Modern Art in New York, Tate Modern in London, the Centre Pompidou in Paris, the Fondation Beyeler, and the Kunstmuseum Den Haag.
One of the most surprising discoveries concerned the frame itself. Research demonstrated that from the late 1930s onward, Mondrian considered the frame an integral part of the artwork. He used recessed framing systems and painted textile strips to blur the traditional boundary between the painting, the wall, and the surrounding environment.
As a result, the frame installed in 1968 was removed and replaced with a reconstruction based on historical evidence and Mondrian’s original intentions, developed in collaboration with the Opificio delle Pietre Dure in Florence.
A New Perspective on a Mondrian Masterpiece in Venice
Thanks to this extensive programme of research and conservation, Mondrian’s masterpiece can now be experienced by visitors to the Peggy Guggenheim Collection in conditions that closely reflect the artist’s original vision.
The restoration has not only preserved the artwork but has also deepened our understanding of Mondrian’s language, his sensitivity to light and space, and his sophisticated approach to visual perception. It stands as a compelling example of how scientific research and conservation can continue to reveal new meanings within the masterpieces of modern art and enrich the experience of a museum exhibition.
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