What Were the Visual Characteristics of Art and Design Produced by the Dutch

"We speak of concrete and not abstract painting because nothing is more concrete, more than real than a line, a color, a surface."

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"While the expressive possibilities of Neoplasticism are limited to two dimensions (the plane), Elementarism realizes the possibility of plasticism in four dimensions, in the field of time-space."

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"Why should something that no 1 finds strange in music, be impossible in the art of painting/sculpture? By comparing works of fine art that do not represent an object, is in our experience, the most fruitful way of exercising our receptivity for them."

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"The three chief colors are essentially yellowish, blue, and cherry-red. They are the but colors existing ... Yellowish is the move of the ray (vertical) ... blue is he contrasting colour to yellow (horizontal firmament) ... red is the mating of yellow and blue."

"At that place is an old and a new consciousness of the age. The old ane is directed towards the individual. The new i is directed towards the universal. The struggle of the individual confronting the universal may exist seen both in the world war and in modern art."

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Theo van Doesburg, from his 1918 manifesto

Summary of De Stijl

Holland-based De Stijl movement embraced an abstruse, pared-down aesthetic centered in bones visual elements such as geometric forms and principal colors. Partly a reaction against the decorative excesses of Fine art Deco, the reduced quality of De Stijl art was envisioned by its creators equally a universal visual linguistic communication appropriate to the modernistic era, a fourth dimension of a new, spiritualized world guild. Led by the painters Theo van Doesburg and Piet Mondrian - its key and celebrated figures - De Stijl artists practical 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 issue the ultimate style. To this end, De Stijl artists turned their attention not simply to fine art media such as painting and sculpture, only virtually all other art forms as well, including industrial blueprint, typography, even literature and music. De Stijl's influence was possibly felt about noticeably in the realm of architecture, helping give rise to the International Mode of the 1920s and 1930s.

Primal Ideas & Accomplishments

• Like other avant-garde movements of the time, De Stijl, which ways but "the style" in Dutch, emerged largely in response to the horrors of World War I and the wish to remake society in its backwash. 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 abstruse art, De Stijl artists consort a visual language consisting of precisely rendered geometric forms - commonly straight lines, squares, and rectangles--and master colors. Expressing the artists' search "for the universal, as the private was losing its significance," this ascetic language was meant to reveal the laws governing the harmony of the world.
• Even though De Stijl artists created work embodying the move's utopian vision, their realization that this vision was unattainable in the real world essentially brought about the grouping's demise. Ultimately, De Stijl's continuing fame is largely the event of the enduring achievement of its all-time-known member and true modern master, Piet Mondrian.

Overview of De Stijl

Gerrit Rietveld said, "We must retrieve that sit is a verb also." In 1918 he had a poem incised on the underside of his Ruby and Blue Chair that read, "When I sit, I practice not want to sit every bit my seated mankind likes, but rather as my seated spirit would sit down, if it wove the chair for itself." The work and the philosophy it expressed became canonical to de Stijl.

Key Artists

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  Theo van Doesburg was a Dutch creative person, who together with Piet Mondrian established the De Stijl movement. Van Doesburg'south most famous piece of work experimented with geometric abstraction and archetypal forms. He was also a prominent architect and author.

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  Piet Mondrian, a founding member of the De Stijl movement, was a modernistic Dutch artist who used grids, perpendicular lines, and the three main colors in what he deemed Neo-plasticism.

Exercise Not Miss

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  Neo-Plasticism was the guiding philosophy behind the art of Dutch painter Piet Mondrian and many of his peers in the De Stijl circle. Articulated by Mondrian in 1917-eighteen, the approach stipulates the strict use of only horizontal and vertical lines and the main colors blood-red, yellow, and blue.

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  Suprematism, the invention of Russian artist Kazimir Malevich, was i of the primeval and most radical developments in abstract fine art. Inspired past a desire to experiment with the language of abstract form, and to isolate art's barest essentials, its artists produced austere abstractions that seemed almost mystical. It was an important influence on Constructivism.

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  Russian Constructivism emerged with the Revolution of 1917 and sought a new approach to making objects, one which abolished the traditional concern with composition and replaced it with 'construction,' which called for a new attention to the technical graphic symbol of materials. Information technology was hoped that these inquiries would yield ideas for mass production. The movement was an important influence on geometric abstraction.

Important Art and Artists of De Stijl

Composition A (1920)

Artist: Piet Mondrian

Composition A - whose title announces its nonobjective nature by making no reference to annihilation beyond itself - is a practiced example of Mondrian's geometric abstraction earlier it fully matured within the framework of the De Stijl aesthetic. With its rectilinear forms made upward 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 principal colors.

Mechano-Dancer (1922)

Creative person: Vilmos Huszar

This early piece of 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--forth with the absence of color - reverberate a dissimilar approach from that of the movement'due south 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 superlative, perhaps representing a caput - is also unique in De Stijl art. Mechano-Dancer's evocation of a hybrid human being-machine, also implied by its title, suggests the influence of Dada and Italian Futurism.

Crimson and Blueish Chair (1923)

Artist: Gerrit Rietveld

Originally designed in 1918 but not fully realized until 1923, when it incorporated the characteristic De Stijl scheme of primary colors, Red and Blueish 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, even so manage to avert intersection. Every color, line, and plane is clearly divers, as if each comprised its own work that just happened to exist used for a piece of piece of furniture. The simple assembly Rietveld deployed was quite intentional as well; he built the chair out of standard lumber sizes bachelor at the time, reflecting his goal of realizing a piece of furniture that could be mass-produced as opposed to paw-crafted. Emphasizing its manmade quality, Red and Bluish Chair also notably avoids the employ of natural course, which furniture designers tend to favor in club to emphasize the idea of physical comfort and convenience.

Useful Resources on De Stijl

Books

websites

articles

video clips

More

Books

The books and manufactures below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further enquiry, especially ones that tin can be found and purchased via the net.

written well-nigh de stijl

• The Story of De Stijl Our Pick

  By Hans Janssen, Michael White

• De Stijl and Dutch Modernism Our Pick

  By Michael White

• Towards Universality: Le Corbusier, Mies and De Stijl

  Past Richard Padovan

written past de stijl artists

• Principes fondamentaux de 50'fine art néo-plastique (French Edition)

  Past Theo van Doesburg

• Piet Mondrian: Catalogue Raisonné (Vol 1) Our Pick

  By Paul Overy

artwork

• The Ideal as Art: de Stijl, 1917-1931 Our Pick

  Past Carsten-Peter Warncke

• Van Doesburg & the International Avant-Garde: Amalgam a New Earth Our Pick

  By Gladys Fabre, Doris Wintgens Hotte, Michael White

• Mondrian De Stijl

  Hans Janssen, Franz-Due west. Kaiser, Matthias Muhling, Piet Mondrian

• Gerrit Rietveld Compl. Works

  By M. Kuper, I. Van Zijl

Content compiled and written past Justin Wolf

Edited and published by The Fine art Story Contributors

"De Stijl Movement Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Justin Wolf
Edited and published by The Fine art Story Contributors
Available from:
First published on 22 Nov 2011. Updated and modified regularly
[Accessed ]

figueroauscoulk.blogspot.com

Source: https://www.theartstory.org/movement/de-stijl/

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