Composition with Yellow, Blue, Black and Light Blue
1929
Illustrative frame preview.
Cleveland Museum of ArtOriginal work, c. 1907
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Piet Mondrian — Field with Young Trees in the Foreground Print
Slender young trees stand before a green field and a low horizon. Mondrian’s early landscape uses subdued earth colours and a narrow band of evening light.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border, preserving the original tones and surface details.
£59.00
From museum archives. No recolouring, retouching or AI enhancement.
UK delivery. Unframed £4.99, free from £50. Wood-frame delivery included.
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.
Our print guideAbout the artwork
Slender young trees stand before a green field and a low horizon. Mondrian’s early landscape uses subdued earth colours and a narrow band of evening light.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border, preserving the original tones and surface details.
- Artist
- Piet Mondrian
- Artwork
- Piet Mondrian — Field with Young Trees in the Foreground Print
- Date of work
- c. 1907
- Museum collection
- Cleveland 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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