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Formalist Theory: De Stijl (The Style) 1916-1931

Formalist Theory: De Stijl (The Style) 1916-1931. Aesthetic Theory. A New Style….

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Formalist Theory: De Stijl (The Style) 1916-1931

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  1. Formalist Theory: De Stijl (The Style) 1916-1931 Aesthetic Theory

  2. A New Style… The De Stijl (literally, "the style") art movement was founded by the painter and architect Theo van Doesburg in Leiden in 1917. It encompassed a new type of style in modern art and architecture. This movement used the artistic talent of the artists by designing homes, buildings, and furniture. Red and Blue Chair designed by Gerrit Rietveld in 1917

  3. Objective Perspective Founder members of the group included the painter Mondrian, the sculptor Vantongerloo, the architect J.J.P. Oud and the designer and architect Rietveld. They were eager to develop a new aesthetic consciousness and an objective art based on clear principles. Their work and research extended to the fine arts, city and town planning, the applied arts and philosophy.

  4. Composition with Yellow, Blue, and Red 1939-42. Piet Mondrian. Oil on canvas. 72.5 x 69 cm. London, Tate Gallery. "The New Plastic in Painting", best expresses their ideas for reduction of form and simplistic abstraction: "The new plastic art...can only be based on the abstraction of all form and color, i.e. the straight line and the clearly defined primary color" (De Stijl Magazine, Lemoine, 1987, p.29).

  5. Theo van Doesburg (Christian Emil Marie Küpper) (Dutch, 1883–1931.)Rhythm of a Russian Dance. [Rythme d’une danse russe]1918Oil on canvas, 53 1/2 x 24 1/4" (135.9 x 61.6 cm)The Museum of Modern Art, New York. Acquired through the Lillie P. Bliss Bequest Art was seen as a collective approach, with a language that went beyond cultural, geographical and political divisions. The depersonalization of the artwork was carried through into the execution which was anonymous and impersonal. The artist's personality took a back seat to a conscious and calculated working process. The key ideas underpinning the movement could not be separated from Mondrian's aesthetic theory of Neo-Plasticism. This theory was aimed at scaling down the formal components of art - only primary colors and straight lines. A painting was derived from the features of the surface, although many De Stijl paintings were abstractions of natural phenomena, such as van Doesburg's "Rhythms of a Russian Dance" (1918).

  6. Rietveld Schroder HousePrins Hendriklaan 50 Utrecht The NetherlandsGerrit Thomas Rietveld 1924Original Model on Right While Mondrian's work adhered to the strict principles of Neo-Plasticism, Van Doesburg sought to broaden the movement's research projects into architecture, reconceiving the entire living environment. A De Stijl picture represented a fragment of a larger project concerning space: the house as an interior space, and the city as an assembly of houses. The austere forms of De Stijl were well suited to the geometric structures favored by the International Modernist movement, while the primary colors favored by the painters could be used as decorative elements to articulate an otherwise plain facade.

  7. Alternate Views and Detail

  8. Theo van Doesburg Piet Mondrian Georges Vantongerloo Mies van dr Rohe Jean Arp El Lissitzky Romert van't Hoff Cesar Domela Cornelis van Eesteren Piet Zwart Friedrich Vordemberge-Gildewart Jan Wils Antony Kok Gerrit Thomas Rietveld Sophie Taeuber-Arp Vilmos Huszar Bart van der Leck Jacobus-Johannes-Pieter Oud Gerrit Rietveld Main Representatives

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