The three-dimensional tree has been confined to lines and planes utilizing a restricted palette of grays and dark. This sketch is one in a progression of works Mondrian made, in which the early trees are naturalistically spoken to, while the later works have turned out to be continuously more theoretical. In the later artworks, the lines of the tree are lessened until the type of the tree is scarcely discernible and gets to be optional to the general synthesis of vertical and level lines. Here, there is still an implication to the tree as it shows up in nature, yet one can as of now see Mondrian's enthusiasm for diminishing the structure to an organized association of lines. This stride was priceless to Mondrian's advancement of his full grown style of immaculate reflection. This painting is considered his “transition work” because it still contains the Fauves style while incorporating
The three-dimensional tree has been confined to lines and planes utilizing a restricted palette of grays and dark. This sketch is one in a progression of works Mondrian made, in which the early trees are naturalistically spoken to, while the later works have turned out to be continuously more theoretical. In the later artworks, the lines of the tree are lessened until the type of the tree is scarcely discernible and gets to be optional to the general synthesis of vertical and level lines. Here, there is still an implication to the tree as it shows up in nature, yet one can as of now see Mondrian's enthusiasm for diminishing the structure to an organized association of lines. This stride was priceless to Mondrian's advancement of his full grown style of immaculate reflection. This painting is considered his “transition work” because it still contains the Fauves style while incorporating