De Stijl

De Stijl, translated as 'The Style' from Dutch (, Dutch: [də ˈstɛil]), constituted a Dutch artistic movement established in 1917. Its founders comprised a collective of artists and architects situated in Leiden (Theo van Doesburg, J. J. P. Oud), Voorburg (Vilmos Huszár, Jan Wils), and Laren (Piet Mondrian, Bart van der Leck).

De Stijl (, Dutch: [dəˈstɛil]; 'The Style') was a Dutch art movement founded in 1917 by a group of artists and architects based in Leiden (Theo van Doesburg, J. J. P. Oud), Voorburg (Vilmos Huszár, Jan Wils) and Laren (Piet Mondrian, Bart van der Leck).

The designation De Stijl also referred to a periodical, edited by the Dutch polymath Theo van Doesburg (a painter, designer, writer, poet, and critic), which served as the primary vehicle for disseminating the group's theoretical principles. Beyond van Doesburg, key figures within the movement included painters Piet Mondrian, Vilmos Huszár, and Bart van der Leck; architects J.J.P. Oud, Jan Wils, Gerrit Rietveld, and Robert van 't Hoff; the sculptor and painter Georges Vantongerloo; and the poet and writer Antony Kok.

The foundational artistic theory underpinning the group's endeavors was initially termed Nieuwe Beelding in its native Dutch, subsequently rendered as Neoplasticism in English. This theoretical framework was later expanded to incorporate the tenets of Elementarism.

Core Principles and Influential Factors

Piet Mondrian articulated the foundational principles of Neoplasticism within his seminal essay, "Neo-Plasticism in Pictorial Art." He posited that "this novel plastic concept will disregard the specificities of appearance, meaning natural form and color. Instead, its manifestation should reside in the abstraction of form and color, specifically through the straight line and the precisely defined primary color." Consequently, Mondrian's artistic practice was restricted to primary colors and non-colors, squares and rectangles, and exclusively straight, horizontal, or vertical lines. The De Stijl movement initially embraced these principles until approximately 1924, at which point it diverged from certain tenets, adopting Elementarism. This later approach incorporated dynamic diagonal lines, permitted color to imbue artworks with greater vitality, and eschewed harmonious and balanced compositional relationships.

The appellation De Stijl is purportedly derived from Gottfried Semper's work, Der Stil in den technischen und tektonischen Künsten oder Praktische Ästhetik (1861–1863). Curl proposes that this source was erroneously interpreted as endorsing materialism and functionalism.

Nieuwe beelding, or Neoplasticism, conceptualized itself as transcending the ephemeral appearances of natural phenomena to establish a profound connection between the viewer and an immutable essence of reality. This reality was perceived less as a tangible fact and more as an intrinsic spiritual insight. Initially, De Stijl advocated for this profound simplicity and abstraction across both architectural and pictorial domains, employing exclusively straight horizontal and vertical lines and rectangular geometries. Its artistic lexicon was confined to the primary colors—red, yellow, and blue—and the three fundamental values: black, white, and grey. Compositions deliberately eschewed symmetry, achieving aesthetic equilibrium through the strategic deployment of opposition. This inherent tension also resonated with the secondary meaning of stijl, signifying 'a post, jamb, or support,' a concept vividly illustrated by the construction of intersecting joints, frequently observed in carpentry.

Within numerous three-dimensional creations by the group, vertical and horizontal linear elements are arranged in non-intersecting layers or planes. This configuration ensures the autonomous existence of each component, free from obstruction by others. Notable examples of this characteristic include the Rietveld Schröder House and the Red and Blue Chair.

De Stijl drew inspiration from Cubist painting, alongside the mystical tenets and concepts of "ideal" geometric forms (such as the "perfect straight line") found within M. H. J. Schoenmaekers' Neoplatonic philosophy. Furthermore, the movement was shaped by Neopositivism. The artistic output of De Stijl subsequently impacted the Bauhaus style, the international architectural style, and various aspects of clothing and interior design. Nevertheless, De Stijl did not conform to the typical conventions of an "-ism" (e.g., Cubism, Futurism, Surrealism), nor did it strictly adhere to the pedagogical principles of art institutions like the Bauhaus. Instead, it functioned as a collaborative, evolving endeavor, culminating in novel "elementary design" principles that Van Doesburg termed Elementarism.

The musical impact of De Stijl was limited solely to the work of composer Jakob van Domselaer, a close associate of Mondrian. From 1913 to 1916, he composed his Proeven van Stijlkunst ("Experiments in Artistic Style"), primarily influenced by Mondrian's artistic output. This pioneering, minimalistic musical style delineated "horizontal" and "vertical" musical components, seeking to achieve equilibrium between these two principles. Despite his innovative contributions, Van Domselaer remained largely unrecognized during his lifetime and did not assume a prominent position within the De Stijl movement.

History

Early history

Emerging from the proliferation of novel art movements subsequent to Impressionism's transformative approach to painting, Cubism materialized in the early 20th century as a significant and impactful artistic trajectory. Concurrently, the Netherlands also demonstrated an interest in these nascent artistic developments. Nevertheless, due to the Netherlands' neutrality during World War I, Dutch artists were unable to depart the country after 1914, leading to their effective isolation from the global art scene, particularly from Paris, which served as its epicenter during that era.

During this period, Theo van Doesburg initiated efforts to identify fellow artists for the purpose of establishing a journal and founding an art movement. Van Doesburg, a polymath encompassing roles as a writer, poet, and critic, had achieved greater recognition through his art criticism than through his independent artistic practice. Possessing a flamboyant personality and an outgoing disposition, he was highly skilled at forging new connections, thereby cultivating numerous valuable contacts within the art community.

Founding of De Stijl

Approximately in 1915, Van Doesburg commenced interactions with artists who would subsequently establish the journal. His initial encounter with Piet Mondrian occurred at an exhibition hosted by the Stedelijk Museum Amsterdam. Mondrian, who had relocated to Paris in 1912 and subsequently altered his surname from "Mondriaan," was visiting the Netherlands when the war commenced, precluding his return to the French capital. During this period, Mondrian resided in the artists' enclave of Laren, where he encountered Bart van der Leck and frequently interacted with M. H. J. Schoenmaekers. In 1915, Schoenmaekers released Het nieuwe wereldbeeld ("The New Worldview"), succeeded in 1916 by Beginselen der beeldende wiskunde ("Principles of Formative Mathematics"). These two seminal works significantly impacted Mondrian and other adherents of De Stijl.

Van Doesburg maintained acquaintanceships with J. J. P. Oud and the Hungarian artist Vilmos Huszár. By 1917, the collaborative efforts of these artists, alongside his friend, the poet and musician Antony Kok, culminated in the establishment of De Stijl. The nascent architect Gerrit Rietveld became a member of the collective in 1918. At its zenith, De Stijl comprised 100 members, and its associated journal achieved a circulation of 300 copies.

In its formative years, the group maintained a relatively cohesive structure, notwithstanding Van der Leck's departure in 1918, prompted by divergent artistic perspectives. During this period, manifestos were disseminated, bearing the signatures of all members. The prevailing socio-economic conditions of the era served as a significant wellspring of inspiration for their theoretical frameworks, while their architectural concepts were profoundly shaped by the works of Hendrik Petrus Berlage and Frank Lloyd Wright.

The appellation Nieuwe Beelding was initially introduced in 1917 by Mondrian, who authored a twelve-article series titled De Nieuwe Beelding in de schilderkunst ("Neo-Plasticism in Painting"), which appeared in the journal De Stijl. Subsequently, in 1920, he released a book entitled Le Néo-Plasticisme.

After 1920

Approximately in 1921, the collective's fundamental character began to evolve. Concurrently with Van Doesburg's engagement with the Bauhaus, additional influences began to manifest. These primary influences included Malevich and Russian Constructivism, perspectives that did not garner universal acceptance among the members. In 1924, Mondrian severed ties with the group following Van Doesburg's introduction of Elementarism, a theory positing the superior vitality of diagonal lines over horizontal and vertical ones. Furthermore, the De Stijl collective assimilated numerous new adherents. Dadaist influences, exemplified by I. K. Bonset's poetry and Aldo Camini's "antiphilosophy," also incited considerable debate. It was only posthumously, following Van Doesburg's demise, that Bonset and Camini were disclosed as two of his pseudonyms.

After van Doesburg's death

Consequently, characterizing De Stijl as a tightly integrated artistic collective may be inaccurate, given that members primarily communicated through letters, and some, such as Mondrian and Rietveld, never met personally.

Conversely, Van der Leck reverted to figurative compositions subsequent to his disassociation from the group.

Influence on architecture

Additional examples encompass the Eames House by Charles and Ray Eames, and the interior design of the Aubette dance hall in Strasbourg, a collaborative effort by Sophie Taeuber-Arp, Jean Arp, and van Doesburg.

Present day

The Centraal Museum in Utrecht holds the largest global collection of Rietveld's works, in addition to owning the Rietveld Schröder House, Rietveld's adjacent 'show house,' and the Rietveld Schröder Archives.

The movement's design aesthetics influenced the Rumyantsevo and Salaryevo stations of the Moscow Metro, which commenced operations in 2016.

Neoplasticists

• Ilya Bolotowsky (1907–1981), painter and sculptor
• Burgoyne Diller (1906–1965), painter

• Theo van Doesburg (1883–1931), painter, designer, poet and writer; co-founder of De Stijl; editor of De Stijl, 1917–1931

• Cornelis van Eesteren (1897–1981), architect
• Jean Gorin (1899–1981), painter, sculptor
• Robert van 't Hoff (1887–1979), architect
• Vilmos Huszár (1884–1960), painter
• Frederick John Kiesler (1890–1965), architect, theater designer, artist, sculptor
• Antony Kok (1882–1969), poet and writer
• Bart van der Leck (1876–1958), painter
• Piet Mondrian (1872–1944), painter, co-founder of De Stijl
• Marlow Moss (1889–1958), painter
• J. J. P. Oud (1890–1963), architect
• Gerrit Rietveld (1888–1964), architect and designer
• Kurt Schwitters (1887–1948), painter, sculptor
• Georges Vantongerloo (1886–1965), sculptor
• Friedrich Vordemberge-Gildewart (1899–1962), painter
• Jan Wils (1891–1972), architect

• Art Concret – French-language art magazine (1930)
• Concrete art – Art movement emphasizing geometrical abstraction
• Form follows function – Design philosophy of 19th–20th centuries
• Mathematics and art
• References

References

Sources

Blotkamp, Carel (1986). De Stijl: The Formative Years 1917-1922. Translated by Charlotte I. Loeb; Arthur L. Loeb. Cambridge, Massachusetts: MIT Press. ISBN 9780262022477. OCLC 13396885.

• Blotkamp, Carel (1986). De Stijl: The Formative Years 1917-1922. Translated by Charlotte I. Loeb; Arthur L. Loeb. Cambridge, Mass.: MIT Press. ISBN 9780262022477. OCLC 13396885.Blotkamp, Carel, ed. (1996). De vervolgjaren van De Stijl 1922–1932 [The subsequent years of De Stijl 1922–1932] (in Dutch). Amsterdam: Veen.Fiell, Charlotte; Fiell, Peter (2005). Design of the 20th Century (25th anniversary ed.). Cologne: Taschen. pp. 200–203. ISBN 9783822840788. OCLC 809539744.Jaffé, H. L. C. (1956). De Stijl, 1917–1931, The Dutch Contribution to Modern Art (First ed.). Amsterdam: J.M. Meulenhoff.Janssen, Hans; White, Michael (2011). The Story of De Stijl. Lund Humphries. ISBN 978-1-84822-094-2.Overy, Paul (1969). De Stijl (First ed.). London: Studio Vista.White, Michael (2003). De Stijl and Dutch Modernism. Manchester [etc]: Manchester University Press.van Doesburg, Theo (1924). "Towards a plastic architecture". Translation of original published in De Stijl, XII, 6/7. Architecture & CAAD. Archived from the original on November 28, 2005. Retrieved July 31, 2006.For numerous sourced quotations and factual information regarding De Stijl artists, consult: De Stijl 1917–1931 – The Dutch Contribution to Modern Art, by H.L.C. Jaffé; J.M. Meulenhoff, Amsterdam, 1956.
  • Many sourced quotes and facts of De Stijl artists in: De Stijl 1917–1931 – The Dutch Contribution to Modern Art, by H.L.C. Jaffé; J.M. Meulenhoff, Amsterdam 1956
  • De Stijl, available through The International Dada Archive, University of Iowa Libraries.
  • Jakob van Domselaer's Proeven van Stijlkunst, a rare recording.
  • Kramer, Hilton (September 1995). "Mondrian & mysticism: 'My long search is over'". New Criterion. 14 (1). Archived from the original on January 5, 2002.Kramer, Hilton (2006). The triumph of modernism : the art world, 1987-2005. Chicago: Ivan R. Dee. ISBN 9781442223226. OCLC 865508243.Source: TORIma Academy Archive