We studied the surfaces of twelve transatlantic paintings with a stereomicroscope and found traces of many of Mondrian's reworkings in that way. Mondrian usually removed existing paint to accommodate new linear elements or a new color field. To avoid damaging his thinly painted black lines, he would stop just short of these lines when he scraped paint away, leaving traces of the old paint behind. In this section you can see photomacrographs. Click on any indicated area to view selected details and micrographs, or use the navigation arrow(s) at top right to navigate through this section.