Review: De Stijl: The Formative Years, 1917-1922 by Carel Blotkamp, Charlotte I. Loeb, Arthur L. Loeb; Theo van Doesburg: Painting into Architecture, Theory into Practice by Allan Doig; The Rietveld Schröder House by Paul Overy, Lenneke Büller, Frank Den Oudsten, Bertus Mulder

1991 ◽  
Vol 50 (1) ◽  
pp. 85-88
Author(s):  
Nancy J. Troy
Keyword(s):  
Architecture Theory ◽  
Theo Van Doesburg ◽  
De Stijl ◽  
Formative Years

De Stijl (1917–1932)

2018 ◽  
Author(s):  
Michael Johnson
Keyword(s):  
Geometric Form ◽  
Natural Form ◽  
Art And Design ◽  
Avant Garde ◽  
Universal Language ◽  
Straight Line ◽  
The World ◽  
Visual Style ◽  
Theo Van Doesburg ◽  
De Stijl

De Stijl (The Style) was an avant-garde artistic group founded in the Netherlands in 1917. The name was also applied to a journal used to propagate the group’s theories and published between 1917 and 1932. Led by the painters Theo Van Doesburg and Piet Mondrian, the group developed an abstract, elemental style based upon primary colors, geometric planes and right angles. Pursuing spiritual harmony based upon mathematical order, De Stijl formulated a universal language of pure form and color. This became paradigmatic of modernist visual art and design. In 1915 the painter and theorist Theo van Doesburg encountered the work of Piet Mondrian, who had developed a visual style consisting of primary colors and asymmetrical, orthogonal grids. Mondrian was inspired by the mystical ideas of the Theosophists, particularly the eccentric mathematician M.H.J. Schoenmaekers, who devised a Neo-Platonic philosophy based upon pure geometric form. Influenced by Schoenmaekers’ publications The New Image of the World (1915) and Principles of Plastic Mathematics (1916), Mondrian developed an artistic philosophy known as Neo-Plasticism (Nieuwe Beelding): This new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary, it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour … [This art allows] only primary colors and non-colours, only squares and rectangles, only straight and horizontal or vertical line.

De Stijl: the Formative Years

1990 ◽  
Vol 3 (1) ◽  
pp. 63-69
Author(s):  
J. BECKETT
Keyword(s):  
De Stijl ◽  
Formative Years

Filla, Emil (1882–1953)

2018 ◽  
Author(s):  
Eleanor Moseman
Keyword(s):  
Twentieth Century ◽  
The Netherlands ◽  
Early Career ◽  
Pablo Picasso ◽  
Left Behind ◽  
Founding Member ◽  
Early Twentieth Century ◽  
Theo Van Doesburg ◽  
De Stijl

Emil Filla (b. 4 April 1882 in Chropyně in Moravia; d. 6 October 1953 in Prague) is regarded as one of the main leaders of Czech Cubism in early twentieth-century Prague. Best known for paintings that interpret Pablo Picasso and Georges Braque in a Czech context, Filla also produced accomplished sculptures, drawings, and prints. His early career was inaugurated by exhibiting with the group Osma (The Eight) (active 1907–8), of which he was a founding member. In 1909 he joined the Mánes Society and became co-editor of its journal Volné Směry (Free Directions) (ed. 1909–11). Filla was a founding member and leading figure of Skupina výtvarných umělců (the Group of Fine Artists) (active 1911–14) and assumed editorship of the group’s journal Umělecký Měsíčník (published 1911–14). From 1914 to 1920 Filla resided in the Netherlands, where he was active in anti-war politics. In 1920 Filla returned to Prague and resumed work with the Mánes Society. He collaborated with Piet Mondrian and Theo Van Doesburg on the first issue of De Stijl in 1917. After 1920 he left behind the analytic and synthetic cubist aesthetic for which he is best known and turned to figural themes. He was briefly influenced by Surrealism in the 1930s as a result of his friendship with Czech Surrealist and Devětsil member Jindřich Štyrský.

van Doesburg, Theo (1883–1931)

2018 ◽  
Author(s):  
Michael Johnson
Keyword(s):  
Twentieth Century ◽  
Crucial Role ◽  
Avant Garde ◽  
Visual Style ◽  
Dutch Painter ◽  
Architecture And Design ◽  
Theo Van Doesburg ◽  
De Stijl

Theo van Doesburg was a Dutch painter, designer, and art theorist. As the founder and major polemicist of the avant-garde movement known as De Stijl (The Style), he was instrumental in developing an abstract style based on primary colors and geometry. Tirelessly promoting De Stijl across Europe, van Doesburg played a crucial role in the development of Modernist art, architecture and design in the first half of the twentieth century. Born Christian Emil Marie Küpper in Utrecht, van Doesburg was the son of the photographer Wilhelm Küpper. His pseudonym was developed from the name of his stepfather, Theodorus Doesburg, whom he regarded as his natural father. Van Doesburg became a painter around 1900. His early work was influenced by Post-impressionism and Fauvism, but in 1915 he discovered the work of Piet Mondrian and underwent a profound transition. Mondrian had developed an austere visual style based on primary colors and orthogonal grids. This convinced van Doesburg to pursue spiritual harmony based on mathematical order.

scholarly journals Theo van Doesburg, Vladimir Tatlin en de constructivistische reis naar de vierde dimensie

2019 ◽  
Vol 28 ◽  
pp. 183-202
Author(s):  
Anita Srebnik
Keyword(s):  
20Th Century ◽  
Euclidean Geometry ◽  
Fourth Dimension ◽  
Theory Of Relativity ◽  
Time And Space ◽  
Work Of Art ◽  
Literary Practice ◽  
Non Euclidean Geometry ◽  
Theo Van Doesburg ◽  
De Stijl

Theo van Doesburg, Vladimir Tatlin and the constructivist journey to the fourth dimension The magazine De Stijl is considered a constructivist magazine with Theo van Doesburg at its centre, especially among writers. This article tries to find an answer to the question: which characteristics in van Doesburg’s poetry make him a literary constructivist, taking into account the premises of the original constructivism as it emerged in pre-revolutionary Russia at the beginning of the 20th century. This is done by analysing his poem entitled X-Beelden 1920 which could come close to constructivism. First, there follows a brief outline of some essential features of a constructivist work of art, explained by presenting an example from architecture, which at the time was considered the most important art also for literary constructivists. This idea was inspired by the non-Euclidean geometry and the theory of relativity. The new concept of time and space developed at the beginning of the 20th century was adopted by many artists, among them van Doesburg. Although he often reflected upon it in his programmatic essays, not enough evidence was found to prove the thesis that his poem X-Beelden 1920 could be constructivist and that the fourth dimension would find its way into his literary practice.

scholarly journals Ferramenta interdisciplinar de representações bi e tridimensionais: Theo van Doesburg e Andrea Palladio

2006 ◽  
Author(s):  
Glaucia Augusto Fonseca ◽  
Keyword(s):  
Andrea Palladio ◽  
Theo Van Doesburg ◽  
De Stijl

Este artigo apresenta um conjunto de idéias sobre como pensar a interdisciplinaridade no curso de Arquitetura e Urbanismo das Faculdades Integradas Bennett. Delineia-se o processo de execução gráfica (bi e tri dimensionais) partindo do conceito da arte do grupo DE STIJL aplicados às obras de Andrea Palladio com a finalidade de apontar como tal processo relaciona-se com as diferentes práticas de interação entre os componentes do currículo. Finalmente, demonstra-se a experiência deste trabalho, buscando-se desta forma, enfatizar os principais objetivos.

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