Theo Van Doesberg : Design Is Historyde Stijl - the-artists.org.

The Dutch for "The Style", also known as Neoplasticism, was a Dutch art movement founded in 1917.Artists and architects were part of De Stijl.The term De Stijl is used to refer to a body of work from 1917 to 1931.Proponents of De Stijl simplified visual compositions to vertical and horizontal using only black, white and primary colors.

A journal published by the Dutch painter, designer, writer, and critic Theo van Doesburg was used to spread the group's theories.The group's principal members were the painters Piet Mondrian, Vilmos Huszr, Bart van der Leck, and Robert van 't Hoff.Neoplasticism is the artistic philosophy that formed the basis of the group's work.

The "De Stijl"-movement was a reaction to the "Modern Baroque" of the Amsterdam School movement, according to Theo van Doesburg.

The delimitations of Neoplasticism are set forth in Mondrian's essay.He writes that the new plastic idea will ignore natural form and colour.The expression should be found in the straight line and clearly defined primary colour.His art only allows primary colors and non-colours, only squares and rectangles, and only straight and horizontal or vertical lines.The principle of the straight line, the square, and the rectangle, combined with a strong asymmetricality, is what the De Stijl movement is about.[5]

Curl suggests that the name De Stijl was mistakenly believed to advocate functionalism.The "plastic vision" of De Stijl artists, also called Neo-Plasticism, saw itself as reaching beyond the changing appearance of natural things to bring an audience into intimate contact with an immutable core of reality, a reality that was not so much a visible fact as an underlying spiritual visionDe Stijl proposed to use only straight horizontal and vertical lines and rectangular forms in architecture and painting.Their formal vocabulary was limited to the primary colors, red, yellow, and blue, as well as the three primary values, black, white and grey.Symmetry and aesthetic balance were avoided by the works.The construction of crossing joints, most commonly seen in carpentry, is an example of the second meaning of stijl.

In many of the group's three-dimensional works, vertical and horizontal lines are positioned in layers or planes that do not intersect, allowing each element to exist independently and unobstructed by other elements.The Rietveld Schrder House and the Red and Blue Chair have this feature.

Cubist painting as well as the mysticism and ideas about "ideal" geometric forms influenced De Stijl.The De Stijl movement was influenced by Neopositivism.The international style of architecture as well as clothing and interior design would be influenced by the works of De Stijl.It did not follow the general guidelines of an "-ism", nor did it adhere to the principles of art schools like the Bauhaus.

De Stijl was an influence on the work of a close friend of Mondrian.Mondrian's paintings inspired the Proeven van Stijlkunst, which was composed between 1913 and 1916.At the time, music defined "horizontal" and "vertical" musical elements and was aimed at balancing those two principles.Van Domselaer was unknown in his lifetime, and did not play a significant role within De Stijl.

Cubism emerged in the early 20th century as an important and influential new direction from the flurry of new art movements that followed the Impressionist revolutionary new perception of painting.There was interest in this new art in the Netherlands.

Because the Netherlands remained neutral in World War I, Dutch artists were not able to leave the country after 1914 and were therefore effectively isolated from the international art world.

Theo van Doesburg started looking for other artists to start an art movement.Van Doesburg was a writer, poet, and critic who was more successful writing about art than working as an independent artist.He had many useful connections in the art world due to his flamboyant personality and outgoing nature.

Around 1915, Van Doesburg met the artists who would become the journal's founding members.He met Piet Mondrian at an exhibition.When war broke out in the Netherlands, Mondrian, who had moved to Paris in 1912, was there.He stayed in the artists' community of Laren because he couldn't return to Paris.The New Image of the World was published in 1915 by Schoenmaekers, followed by the Principles of Plastic Mathematics in 1916.Mondrian and other members of De Stijl would be influenced by these two publications.

The Hungarian artist Vilmos Huszr was a friend of Van Doesburg.The founding of De Stijl was made possible by the cooperation of these artists and the poet Antony Kok.The young architect joined the group.The journal had a circulation of 300 and had 100 members.[9]

Van der Leck left the group in 1918 due to artistic differences of opinion.The manifestos were signed by all of the members.The social and economic circumstances of the time formed an important source of inspiration for their theories, and their ideas about architecture were heavily influenced by Frank Lloyd Wright.

Mondrian wrote a series of articles in the journal De Stijl called "De Nieuwe Beelding in de schilderkunst" in 1917, which was a term first used by him.He published a book in 1920.10

The group's character began to change around 1921.Other influences began to play a role after van Doesburg's association with Bauhaus.Some members disagreed with the influences of Malevich and Russian Constructivism.After van Doesburg proposed the theory of elementarism in 1924, Mondrian broke with the group.Many new members were acquired by the De Stijl group.Aldo Camini's "antiphilosophy" and I. K. Bonsets poetry generated controversy as well.Bonset and Camini were two of Van Doesburg's pseudonyms.

The group did not survive because of van Doesburg.De Stijl could not exist without a strong central character.It may be wrong to think of De Stijl as a close-knit group of artists.Most communication was done by letter.Mondrian and Rietveld never met in person.

Even after 1931, many artists stayed true to the movement's basic ideas.Mondrian continued working in the style he had initiated around 1920, while Rietveld continued to design furniture according to De Stijl principles.After leaving the group, Van der Leck went back to his original compositions.

Mies van der Rohe was one of the most important proponents of De Stijl's ideas.The Rietveld Schrder House was created completely according to De Stijl principles between 1923 and 1924.There are examples of works by J.J.P.The Hook of Holland andCafé De Unie are where oo can be found.The interior decoration for the Aubette dance hall in Strasbourg, designed by Jean Arp and van Doesburg, is one of the examples.

There are De Stijl-themed exhibitions all over the world.The world's most extensive, although not exclusively De Stijl-related, Mondrian collection is owned by the Gemeentemuseum in The Hague.The Rietveld collection is the largest in the world and is owned by the Centraal Museum of Utrecht.

The design aesthetic of the Moscow Metro stations was inspired by the movement.[11][12]

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