Documentary makers go in search of ‘The Lost Lines of Marlow Moss’

Moss (1889-1958) was born Marjorie Moss to a wealthy London family in the higher class. In her mid-twenties, she decided to study art. She took various art classes in London but couldn’t find what she was looking for and moved to Cornwall. After a serious identity crisis, she returns to London with a new name: Marlow Moss and a new look.

“She said to herself: I’m going to cut my hair, I’m going to put on men’s clothes and I’ll be called Marlow from now on. It’s very brave. Stay there. It was absolutely radical at the time and it takes incredible courage.” You will then be vomited by a large part of your environment,” explains filmmaker Fifi Visser.

In the late 1920s, the British avant-garde artist moved to Paris, where she produced Constructivist paintings in her own studio. In Paris she also met Piet Mondrian, in both works it is clear to see that they inspired each other.

Florette Dijkstra, connoisseur of Moss’s work, interprets the work of Marlow Moss. “She was seen for a long time as a pupil of Mondrian, but she quickly followed her own path. She introduced the double line, she always sought movement in her work. Something that Mondrian did not allow in her work at the departure.” In the end, Mondrian elaborates on the double line and Moss takes another path. She focuses on reliefs and collages.

Why is Moss’s work not as well known as that of his contemporary? Moss has a big name in the art world, her work has been included in the Tate Gallery in London and the Stedelijk Museum in Amsterdam, but she is less known to the general public. Various connoisseurs point to the importance of Moss’ work in the film.