De Stijl, Dutch for "The Style",
also known as neoplasticism, was a Dutch artistic movement founded in 1917 in Amsterdam . The De
Stijl consisted of artists and architects. In a narrower sense, the term De
Stijl is used to refer to a body of work from 1917 to 1931 founded in the Netherlands .
De Stijl is also the name of a journal that
was published by the Dutch painter, designer, writer, and critic Theo van
Doesburg (1883–1931) that served to propagate the group's theories. Next to van
Doesburg, the group's principal members were the painters Piet Mondrian
(1872–1944), Vilmos Huszár (1884–1960), and Bart van der Leck (1876–1958), and
the architects Gerrit Rietveld (1888–1964), Robert van 't Hoff (1887–1979), and
J. J. P. Oud (1890–1963). The artistic philosophy that formed a basis for the
group's work is known as neoplasticism the new plastic art (or Nieuwe Beelding
in Dutch).
Rietveld chair |
Proponents of De Stijl advocated pure
abstraction and universality by a reduction to the essentials of form and
colour; they simplified visual compositions to the vertical and horizontal
directions, and used only primary colors along with black and white. Indeed,
according to the Tate Gallery's online article on neoplasticism, Mondrian
himself sets forth these delimitations in his essay "Neo-Plasticism in
Pictorial Art". He writes, "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". The Tate article further summarizes that this art allows
"only primary colours and non-colours, only squares and rectangles, only
straight and horizontal or vertical line." The Guggenheim Museum's online
article on De Stijl summarizes these traits in similar terms: "It [De
Stijl] was posited on the fundamental principle of the geometry of the straight
line, the square, and the rectangle, combined with a strong asymmetricality;
the predominant use of pure primary colors with black and white; and the
relationship between positive and negative elements in an arrangement of non-objective
forms and lines".
Principles and
influences
The name De Stijl
is supposedly derived from Gottfried Semper's Der Stil in den technischen und
tektonischen Künsten oder Praktische Ästhetik (1861-3), which Curl suggests was
mistakenly believed to advocate materialism and functionalism. In general, De
Stijl proposed ultimate simplicity and abstraction, both in architecture and
painting, by using only straight horizontal and vertical lines and rectangular
forms. Furthermore, their formal vocabulary was limited to the primary colours,
red, yellow, and blue, and the three primary values, black, white, and grey.
The works avoided symmetry and attained aesthetic balance by the use of
opposition. This element of the movement embodies the second meaning of stijl:
"a post, jamb or support"; this is best exemplified by the construction
of crossing joints, most commonly seen in carpentry.
In many of the
group's three-dimensional works, vertical and horizontal lines are positioned
in layers or planes that do not intersect, thereby allowing each element to
exist independently and unobstructed by other elements. This feature can be
found in the Rietveld Schröder House and the Red and Blue Chair.
De Stijl was
influenced by Cubist painting as well as by the mysticism and the ideas about
"ideal" geometric forms (such as the "perfect straight
line") in the neoplatonic philosophy of mathematician M. H. J.
Schoenmaekers. The De Stijl movement was also influenced by Neopositivism. The
works of De Stijl would influence the Bauhaus style and the international style
of architecture as well as clothing and interior design. However, it did not
follow the general guidelines of an "-ism" (e.g., Cubism, Futurism,
Surrealism), nor did it adhere to the principles of art schools like the
Bauhaus; it was a collective project, a joint enterprise.
In music, De
Stijl was an influence only on the work of composer Jakob van Domselaer, a
close friend of Mondrian. Between 1913 and 1916, he composed his Proeven van
Stijlkunst ("Experiments in Artistic Style"), inspired mainly by
Mondrian's paintings. This minimalistic and, at the time, revolutionary music
defined "horizontal" and "vertical" musical elements and
aimed at balancing those two principles. Van Domselaer was relatively unknown
in his lifetime, and did not play a significant role within the De Stijl group.
Founding of De
Stijl
Piet Mondrian,
Gray Tree, 1912
|
Around 1915, Van
Doesburg started meeting the artists who would eventually become the founders
of the journal. He first met Piet Mondrian at an exhibition in Stedelijk Museum
Amsterdam. Mondrian, who had moved to Paris in 1912 (and there, changed his
name from "Mondriaan"), had been visiting the Netherlands when war
broke out. He could not return to Paris, and was staying in the artists'
community of Laren, where he met Bart van der Leck and regularly saw M. H. J.
Schoenmaekers. In 1915, Schoenmaekers published Het nieuwe wereldbeeld
("The New Image of the World"), followed in 1916 by Beginselen der
beeldende wiskunde ("Principles of Plastic Mathematics"). These two publications
would greatly influence Mondrian and other members of De Stijl.
Van Doesburg also
knew J. J. P. Oud and the Hungarian artist Vilmos Huszár. In 1917 the
cooperation of these artists, together with the poet Anthony Kok, resulted in
the founding of De Stijl. The young architect Gerrit Rietveld joined the group
in 1918.
During those
first few years, the group was still relatively homogeneous, although Van der
Leck left in 1918 due to artistic differences of opinion. Manifestos were being
published, signed by all 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 Berlage and Frank Lloyd
Wright.
The name Nieuwe
Beelding was a term first coined in 1917 by Mondrian, who wrote a series of
twelve articles called De Nieuwe Beelding in de schilderkunst
("Neo-Plasticism in Painting") that were published in the journal De
Stijl. In 1920 he published a book titled Le Neo-Plasticisme.
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