They key ideas of De Stijl revolve around spiritual and social redemption. Mondrian partially attributed his arrival at the elements of De Stijl to Theosophy, an occult philosophy promoted by thinkers such as Madame Blavatsky and Rudolf Steiner. L’artiste néerlandais visait la création d’un langage pictural universel, néanmoins radical, sans négliger la dimension spirituelle. It was utopian innature in the sense that the members of De Stijl believed art to have a transformativepower. Van Doesburg called his new style Elementarism and Mondrian called his new style Neo-Plasticism. The harsh reduction and simplicity of his non-representational art, which he named neoplasticism, hides a more mystical approach to the world. This is one of Mondrian’s artworks in his Composition series, and represents the height of Mondrian’s purity and sobriety in his art. Le futurisme, le dadaïsme, le Bauhaus, dans une moindre mesure le fauvisme, sont également dans cette ligne. Their visual expression was radicalized by a self-invented vocabulary that functioned according to its own system, consisting of orthogonal lines and primary colors as the most basic tools for non-verbal communication. Stijl was a reaction against the horrors of World War I. With its main representatives van Doesburg and Mondrian, the style spread from painting into design and architecture and sculpture as well, adopted by Jean Art or Constantin Brancusi. His name is tightly associated with the ‘functional city’ concept that was evident in the General Extension Plan for Amsterdam he devised in 1929. While involved in the movement, he produced various abstract works, industrial and commercial graphic works, and collaborated on numerous interior design projects such as for the home of the industrialist Bruynzeel. En bref. Originally a publication, De Stijl was founded in 1917 by two pioneers of abstract art, Piet Mondrian and Theo van Doesburg. It was, however, preceded by the designs of Frank Lloyd Wright, whose influence on De Stijl assisted the formulation of this architectural style to a great extent. Content compiled and written by Justin Wolf Edited and published by The Art Story Contributors Available from: First published on 22 Nov 2011. They were searching for the laws governing the harmony of the world, and wanted to reveal them through their art – their lines, squares and rectangles in primary colours. De Stijl, Part I: Total Purity. The first word was 'purity'; a 'white' world was to replace the 'brown' one. He widely experimented with typography and produced various advertisements in Germany. Featured images: Piet Mondrian - Piet Mondrian - Composition II in Red Blue Yellow; Piet Mondrian - Tableau I; Theo van Doesburg - Counter Composition V. All images used for illustrative purposes only. Translated as ‘The Style’, this movement is officially founded in Amsterdam in 1917. "De Stijl Movement Overview and Analysis". The de Stijl artists are known for using … Suprematism. Encompassing painting, architecture and design, de Stijl was founded by Piet Mondrian and Theo van Doesberg in 1917 based upon strict ideals of vertical and horizontal geometry. The new one is directed towards the universal. From a historical perspective, the book explores the relationship and the interaction between the world of mass culture and the fine arts. De Stijl architecture was no exception of course, but since building takes longer than painting, there are not as many examples that adhere to the principles of De Stijl entirely. Robert van 't Hoff's resignation was far more definitive, as he decided to leave the group in 1922 and became a self-proclaimed ex architect, which marked his final break-up with the discipline and from any kind of artistic engagement. We have a ‘nostalgia for the universal’ wrote Piet Mondrian. Mondrian saw Neo-plasticism as an ideal art in which the basic elements of painting were used in their purest and most fundamental state. Transforming their ideas of color, the dominance of the red color, evident in the various examples, was explained first and foremost through the symbolic force of the color, closely linked to revolution and its powerful effect with the black color. Find more prominent pieces of abstract at – best visual art database. © 2013-2021 Widewalls | This international group of artists working in all mediums renounced naturalistic representation in favor of a stripped-down formal vocabulary principally consisting of straight lines, rectangular planes, and primary color. Gerrit Rietveld’s Rietveld-Schröder House, 1924. Proponents of De Stijl advocated pure abstraction and universality by a reduction to the essentials of form and colour; they simplified visual … Mondrian’s paintings reflected what he saw as the spiritual order underlying the visible world, and as such, Mondrian’s art, needs to be viewed as a symbol, possibly better to say a sign, of the universal aesthetic language. He designed covers for various anarchistic books, but was forced to destroy them all during the Nazi regime. But, where did he differ? Albane. The De Stijl’s artists deeply believed in their ideal sense of order as a response to the trauma of the World War I. This "style", or rather a school of thought, is called Neoplasticism - the new plastic art, which aimed to develop a universal language that gradually gave rise to Modernism. Incidentally, De Stijl is also the name of the journal published by Theo van Doesburg, where the theories of this particular movement were enshrined. A Russian dancer is portrayed in the most stripped-down fashion. After moving to Menton in France, he associated with the artist and architect Max Bill who has organized many of his exhibitions. His designs had a sleek shape with the emphasis on horizontal and vertical lines, but were also very vital and organic. -Eglise de village, 1898 Maison et église déjà un peu géométrisés. Prof de Français. He always emphasized the role of the intuition over formula regarding his compositions. For them, art was a means towards social and spiritual redemption. power. Chaque œuvre étant un peu le fermant de l’œuvre suivante. Fondé par les peintres Piet Mondrian et Théo Van Doesburg, ce groupe d'avant-garde est aussi composé de Gerrit Rietveld, Cesar Domela ou El Lissitzky. Sort by: Top Voted. A term describing the abstraction pioneered by the Dutch journal De Stijl (The Style), founded in 1917 by the painter and architect Theo van Doesburg. Maître de la ligne droite, du quadrillage parfait et des couleurs primaires, Piet Mondrian (1872–1944) est l’un des fondateurs de l’abstraction historique, et la grande figure du mouvement De Stijl à la recherche d’un art total. After coming in contact with the works of Piet Mondrian, Theo Van Doesburg saw these pieces as the ideal in painting as a complete abstraction of reality. Piet Mondrian. Published by van Doesburg, the journal promoted the philosophical views of the group, and the famous text by Mondrian Neo-Plasticism in Pictorial Art was specially endorsed. Prior to coming to Paris, in 1908 he joined the Theosophical Society, a spiritual organization based on the teachings of Buddhism. This reduction and simplification, as discussed in the part of this article concentrating on ideas of Piet Mondrian, suggested a need and a desire for the creation of a universal visual language appropriate to the modern era, applicable both for fine and applied arts. Trying to reconcile strict and rational construction technique with necessities and aesthetic expectations of the residents, he practiced ‘poetic functionalism’. However, all of these genres were strongly influenced by painting, which is somewhat logical, given that painting could be considered a foundation for other media. With this in mind, we need to consider the importance Mondrian left; not only in his legacy of paintings and design concepts but more importantly as one of the artist-metaphysicians of our time, we need to acknowledge his views regarding the artistic language and his philosophical reflections. Mouvement De Stijl . Updated and modified regularly [Accessed ] One of his most notable works is the Olympic stadium for the 1928 Summer Olympics in Amsterdam that has also won the gold medal in the Olympic art competition. De Stijl was founded by Piet Mondrian and Theo Van Doesberg, but also included the artchitect Gerrit Rietveld. Oud spontaneously decided to withdraw in 1921, but he continued working in a similar manner, up until the 40's when he was condemned for his supposed return to ornamentation. Well, a few months later, he was painting in precisely that manner. But Van Doesburg had been interested in exploring different ways long before the dramatic diagonal break. It was due to De Stijl art and the strong link between theory, concepts and ideas, promoted by Mondrian, who kept journals and often wrote his concepts down, that we can understand the ‘hidden’ message behind the grids and geometrical shapes. De l’esprit à la ville, tel pourrait être le fil directeur de l’évolution des productions de De Stijl durant les quatorze années de son existence. De Stijl proposes a rational ideal of abstract art and design. Mondrian became a member of the Dutch Theosophical Society in 1909, and painted a number of works around that time that explore mystical awareness. They believed there had to be something more to life than what was being served, but in visual terms, this “something more” was actually achieved by reduction and simplification, rather than embellishment. "De Stijl Movement Overview and Analysis". Thereafter, all members of the De Stijl movement who signed the movement's manifesto were committed to the theory of Neo-Plasticism. Il est connu pour être le fondateur et principal animateur du mouvement De Stijl. Key words: geometric forms, primary colours, form and function, Neo-plasticism, spirituality, return to order, Key artists: Piet Mondrian, Theo van Doesburg, Bart van der The De Stijl Art Movement Explained Through 3 Artists De Stijl is a modern art movement that originated in the Netherlands. Niveau 3 [704-8 KRA Fenêtre jaune cadmium ou les dessous de la peinture, Hubert Damisch, Seuil, 1984 Un essai sur Mondrian : « L’éveil du regard », p. 54-73 par H. Damisch, philosophe et historien d’art. 12 déc. In this Counter Composition V, he also added a grey triangle to the otherwise strictly primary colours and non-colours. De Stijl, Dutch for "The Style", also known as Neoplasticism, was a Dutch art movement founded in 1917 in Leiden. The idea was not to repeatedly paint red, white, blue and yellow rectangles outlined with black lines in order to discuss their mere appearance, but to capture the sensations that come through our eyes, and to translate them into the domain of the cognitive. While he was still alive and even after his death the impact of his thoughts and paintings was influential. Une analyse de l'art contemporain, de Rodin à Pollock par une importante critique et théoricienne américaine, Comprend un chapitre sur la grille dans l’art. British art and literature. The new plastic idea cannot therefore, take the form of a natural or concrete representation – this new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. De nombreux artistes néerlandais en sont alors des adeptes, tels que Gerrit Rietveld ou Théo Van Doesburg. All three of them were famous for their industrial designs as well, whereas Rietveld's Red and Blue Chair is possibly one of the most iconic pieces of furniture ever made. After abandoning De Stijl in 1928, he started designing buildings in a more functionalist style. The need to make the letters fill the shape of the square caused a variety of deformations and rough distortions in the alphabet created by Theo van Doesburg. De Stijl et Bauhaus partagent en effet des idées communes, notamment quant à l'édification d'un monde nouveau et la création d'une oeuvre d'art totale.Van Doesburg se reconnaît dans le programme du Bauhaus édicté en 1919. Van Doesburg’s use of only primary colours and rectangles created by straight horizontal and vertical lines is a reflection of his wish to deconstruct painting to the most simple forms and colours. À partir des principes fondamentaux du Néo-Plasticisme, De Stijl propose de jeter les bases de l'art futur, un art non plus individuel, mais universel, en rapport étroit avec la vie. The strong defiance of the linear perspective and the emphasis placed on the flatness of the surface, alongside the geometric shapes and interlocking of planes of Cubism, visible in the style of Picasso and Georges Braque, was almost immediate in Mondrian’s work. Véritable clé de lecture pour comprendre les sources de l’art moderne, le mouvement d’avant-garde De Stijl est une vision esthétique et sociale de l’art, tournée vers l’universel et à la recherche d’un ‘art total’. Abstract Expressionists, Hard-edge painters and Minimalists each in their own way found inspiration in the Dutch abstraction pioneered by Mondrian and Van Doesburg. Just like the cubists had the capacity to see things through abstract shapes combined, and the futurists saw a single movement in all of its stages, the protagonists of De Stijl – especially painters – were inclined to understand nature as a combination of relationships, rather than of actual physical forms. After getting involved with the De Stijl movement, he started exhibiting worldwide. Theo van Doesburg applied De Stijl principles to architecture, sculpture and typography. De Stijl A collectivist, Dutch art movement that influenced art internationally through the 1920s. Many of the same abstract ideas came into play, as did ideas that incorporated the "machine" aesthetics of the new industrial age. Since 1955, he was focused on finding a pure non-objective language. Composition II in Red, Blue, and Yellow, 1930. De-Stijl(The Style),also called " Neoplasticism" is recognizable by the use of straight horizontal and vertical lines as well as the use of the primary colors red, yellow and blue. Il résida principalement à Utrecht, Weimar, Paris et Meudon. This book is the first to place teh emphasis on the local context of De Stijl and explore its relationship to the distinctive character of Dutch modernism. He designed the cover for the first issue of the magazine De Stijl and contributed greatly to defining the Neo-Plasticism with numerous articles. Neo-Plasticism was the guiding philosophy behind the art of Dutch painter Piet Mondrian and many of his peers in the De Stijl circle. « LES AVANT-GARDES »de G. LMista, S. Lemoine et A. Nakov. It … The most popular color? He collaborated with Jan Wils on his infamous design and construction of the Amsterdam Olympic Stadium. En peinture, avec De Stijl que l’on fait courir de 1917 à 1931, et en architecture avec le style International. The other important influence comes from Hendrik Petrus Berlage, a prominent Dutch architect whose work is often regarded as an interim stage between traditionalism and modernism in the Netherlands. The De Stijl Environment explores the group's approach to exterior and interior spaces and to furniture. De Stijl, Part II: Near-Abstraction and Pure Abstraction. Bauhaus Exhibition Poster Geometric Art De Stijl Art Vintage Poster High Quality Printable Art YoishoPrint. Malgré la variété des interprétations, le triptyque reste pour De Stijl l’instrument qui, entre art et architecture, entre identité et répétition, indique les limites d’un transfert, d’un seuil qui bouscule les conceptions identitaires de la peinture. Nonetheless, Oud is still considered to be one of the most important Modernist architects. Par la suite, des architectes se joignent également au mouvement. Theosophists sought knowledge of higher, spiritual truths than those available to science, and often claimed to have access to those truths through direct spiritual insight. His paintings and his writings, which reflected his theories about art, spirituality, philosophy, and the new look and expression of the natural universal laws, were with him from the beginning. Even though these paintings are still decisively rooted in nature, for all of us familiar with Mondrian’s later achievements, we are almost trained to search for and find evidence of his future abstraction. Furthermore, the geometric visual language and the idea of form following function made a significant impact on the architectural movement from the ‘20s and ‘30s known as The International Style, its main proponents being Mies van der Rohe, Walter Gropius and Le Corbusier. Ground floor but the radical top floor had sliding walls that could create and change the Living spaces founded! 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