Composition with Yellow, Blue, Black and Light Blue
1929
Illustrative frame preview.
Dallas Museum of ArtOriginal work, 1921
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Piet Mondrian — Composition with Large Blue Plane Print
A broad blue rectangle anchors Mondrian’s arrangement of black lines and smaller coloured planes. Red, yellow and grey balance the dominant shape while the white intervals keep the surface open and precise.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
$29.00
Delivery to the contiguous US and Washington, DC.
Paper, size & framing
Fine-art print on 200 gsm enhanced matte paper. Measurements are the paper dimensions, including the white border. Framing adds to the overall dimensions. The artwork keeps its approved composition within those margins. White, natural and dark wood frames are ready to hang with plexiglass.
About the artwork
A broad blue rectangle anchors Mondrian’s arrangement of black lines and smaller coloured planes. Red, yellow and grey balance the dominant shape while the white intervals keep the surface open and precise.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
- Artist
- Piet Mondrian
- Artwork
- Piet Mondrian — Composition with Large Blue Plane Print
- Date of work
- 1921
- Museum collection
- Dallas Museum of Art
About Piet Mondrian
Dutch · 1872–1944
Piet Mondrian began by painting landscapes in the Netherlands. His route to abstraction was gradual, passing through increasingly distilled forms rather than arriving at a ready-made formula. Influences from Symbolism and Post-Impressionism encouraged him to seek a deeper structure within what he saw. Trees, buildings and landscape became starting points for an investigation of rhythm and balance.
A move to Paris in 1911 brought Mondrian into close contact with Cubism. He pushed its experiments toward a painting no longer dependent on representing visible things. In his mature work, horizontal and vertical lines, primary colours and areas of white became a complete vocabulary. Their relationships mattered more than the identity of any subject outside the picture.
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