From De Stijl to Dutch Design:
Partly a reaction against the decorative excesses of Art Deco. Led by the painters Theo van Doesburg and Piet Mondrian - its central and celebrated figures - De Stijl artists applied their style to a host of media in the fine and applied arts and beyond.
Promoting their innovative ideas in their journal of the same name, the members envisioned nothing less than the ideal fusion of form and function, thereby making De Stijl in effect the ultimate style. To this end, De Stijl artists turned their attention not only to fine art media such as painting and sculpture, but virtually all other art forms as well, including industrial design, typography, even literature and music.
De Stijl's influence was perhaps felt most noticeably in the realm of architecture, helping give rise to the International Style of the s and s. Like other avant-garde movements of the time, De Stijl, which means simply "the style" in Dutch, emerged largely in response to the horrors of World War I and the wish to remake society in its aftermath.
Viewing art as a means of social and spiritual redemption, the members of De Stijl embraced a utopian vision of art and its transformative potential. Among the pioneering exponents of abstract art, De Stijl artists espoused a visual language consisting of precisely rendered geometric forms - usually straight lines, squares, and rectangles--and primary colors.
Expressing the artists' search "for the universal, as the individual was losing its significance," this austere language was meant to reveal the laws governing the harmony of the world. Even though De Stijl artists created work embodying the movement's utopian vision, their realization that this vision was unattainable in the real world essentially brought about the group's demise.
Ultimately, De Stijl's continuing fame is largely the result of the enduring achievement of its best-known member and true modern master, Piet Mondrian. Composition A - whose title announces its nonobjective nature by making no reference to anything beyond itself - is a good example of Mondrian's geometric abstraction before it fully matured within the framework of the De Stijl aesthetic.
With its rectilinear forms made up of solid, outlined areas of color, the work reflects the artist's experimentation with Schoenmaekers's mathematical theory and his search for a pared-down visual language appropriate to the modern era.
While here Mondrian uses blacks and shades of grey, his paintings would later be further reduced, ultimately employing more basic compositions and only solid blocks of primary colors.
This early work employs the signature geometric shapes of the De Stijl aesthetic, yet its layering of shapes and forms, and combination of horizontal, vertical, and diagonal lines--along with the absence of color - reflect a different approach from that of the movement's leading artists, van Doesburg and Mondrian.
The work's suggestion of a human figure - accomplished by the arrangement of geometric forms and placement of a cube at the top, possibly representing a head - is also unique in De Stijl art. Mechano-Dancer's evocation of a hybrid man-machine, also implied by its title, suggests the influence of Dada and Italian Futurism.
Originally designed in but not fully realized untilwhen it incorporated the characteristic De Stijl scheme of primary colors, Red Blue Chair is one of the canonical works of the movement.
Rietveld envisioned a chair that played with and transformed the space around it, consisting of rectilinear volumes, planes, and lines that interact in unique ways, yet manage to avoid intersection. Every color, line, and plane is clearly defined, as if each comprised its own work that just happened to be used for a piece of furniture.
The simple assembly Rietveld deployed was quite intentional as well; he built the chair out of standard lumber sizes available at the time, reflecting his goal of realizing a piece of furniture that could be mass-produced as opposed to hand-crafted.
Emphasizing its manmade quality, Red Blue Chair also notably avoids the use of natural form, which furniture designers tend to favor in order to emphasize the idea of physical comfort and convenience.
First introduced invan Doesburg's Counter Compositions - his signature works - embody the artist's wish to move beyond the confines of De Stijl with his introduction of Elementarism. While van Doesburg continued to make use of horizontal and vertical lines, he now prioritized the diagonal line; he described Elementarism as "based on the neutralization of positive and negative directions by the diagonal and, as far as color is concerned, by the dissonant.
Equilibrated relations are not an ultimate result. As in the present example, he repeatedly ventured beyond the three primary colors, including a triangle of grey in addition to the primary colors, white, and black.
At the time he painted this composition, De Stijl was finding its own unique voice; paintings, furniture designs, and buildings produced by those associated with the movement communicated how lines and colors should interact, and how a work's appearance is just as essential as its function.
The Rietveld Schroder House is an important precursor to the Bauhaus-inspired International Style, as well as the only building designed in complete accordance with the De Stijl aesthetic.
The house was commissioned in by Truus Schroder-Schrader, who intended for the new home to be grand and open "without walls"a veritable manifesto for how an independent modern woman should live her life. Featuring the typical De Stijl palette of primary colors, black, and white, the building emphasizes its architectural elements - slabs, posts, and beams - reflecting the movement's emphasis on form, construction, and function in its architecture and design.
In other ways, too, the design represents a major departure from architectural convention and precedent. Inside, the rooms are constructed as movable entities with portable walls. In addition, Rietveld's design makes no attempt to interact with any of the surrounding buildings or roadways, suggesting its presence as an isolated structure focusing inward instead of outward.
Made close to the end of van Doesburg's life, Arithmetic Composition reflects the artist's experimentation with abstract geometric shapes within a diagonal composition, resulting in a dimensional plane that would not have the same visual effect had the blocks been positioned vertically or horizontally.
The work's diagonal configuration, combination of pure positive and negative space black forms against white backgroundand incorporation of a curious backward "L" in the upper left corner, which consumes one block, create a sense of movement, making the shapes appear as if they are alternately moving toward and away from the viewer.
However, unlike Mondrian's characteristic vertical-and-horizontal paintings, which lend themselves to the suggestion of figuration, van Doesburg here creates an abstract artwork totally devoid of the possibility of representation.
InTheo van Doesburg founded the contemporary art journal De Stijl as a means of recruiting like-minded artists in the formation of a new artistic collective that embraced an expansive notion of art, infused by utopian ideals of spiritual harmony.
The journal provided the basis of the De Stijl movement, a Dutch group of artists and architects whose other leading members included Piet Mondrian. Oud and Vilmos Huszar. Adopting the visual elements of Cubism and Suprematism. J Schoenmaekers, a mystical ideology that articulated the concept of "ideal" geometric forms, the exponents of De Stijl aspired to be far more than mere visual artists.
At its core, De Stijl was designed to encompass a variety of artistic influences and media, its goal being the development of a new aesthetic that would be practiced not only in the fine and applied arts, but would also reverberate in a host of other art forms as well, among them architecture, urban planning, industrial design, typography, music, and poetry.Synopsis The Netherlands-based De Stijl movement embraced an abstract, pared-down aesthetic centred in basic visual elements such as geometric forms and primary colours.
Partly a reaction against the decorative excesses of Art Deco, the reduced quality of De Stijl art was envisioned by its creators as a universal visual language appropriate.
De Stijl in Dutch means “ The Style”, also known as neoplasticism, was a Dutch artistic movement founded in The movement was mainly about creating geometric abstract paintings.
In a narrower sense, De Stijl was a term used refers to a body of work from to founded in Netherlands. The development of De Stijl The De Stijl movement was started in Netherlands from to The founder, Theo van Doesburg started a group which was an association of painter Piet Mondrian, Bart van der Leck, and Vilmos Huszar, the architect Jacobus Johannes Pieter Oud, the poet and essayist Antony Kok and other artists/5(19).
De Stijl [The Style] was a Dutch artistic movement founded in by the Dutch painter, designer, writer, and critic Theo van Doesburg. The group's principal members were the painters Piet Mondrian, Vilmos Huszár, and Bart van der Leck, and the architects Gerrit Rietveld, Robert van 't Hoff, and J.
J. P. Oud. De Stijl, Dutch for "The Style", also known as neoplasticism, was a Dutch artistic movement founded in In a narrower sense, the term De Stijl is used to refer to a body of work from to founded in the Netherlands.
The Netherlands-based De Stijl movement embraced an abstract, pared-down aesthetic centered in basic visual elements such as geometric forms and primary colors.
Partly a reaction against the decorative excesses of Art Deco. the reduced quality of De Stijl art was envisioned by its creators as a universal visual language appropriate to the.