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The netherlands based de stijl movement essay

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". With these constraints, his art allows only primary colours and non-colours, only squares and rectangles, only straight and horizontal or vertical lines. The "plastic vision" of De Stijl artists, also called Neo-Plasticism, saw itself as reaching beyond the changing appearance of natural things to bring an audience into intimate contact with an immutable core of reality, a reality that was not so much a visible fact as an underlying spiritual vision.

Furthermore, their formal vocabulary was limited to the primary colours, redyellowand blueand the three primary values, blackwhiteand grey.

The netherlands based de stijl movement essay

The works avoided symmetry and attained aesthetic balance by the use of opposition. This element of the movement embodies the second meaning of stijl: 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.

De stijl movement essay help

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. The De Stijl movement was also influenced by Neopositivism. However, it did not follow the general guidelines of an "-ism" e.

In musicDe Stijl was an influence only on the work of composer Jakob van Domselaera 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 De Stijl. Early history[ edit ] From the flurry of new art movements that followed the Impressionist revolutionary new perception of painting, Cubism arose in the early 20th century as an important and influential new direction.

The Netherlands-based De Stijl movement Essay

In the Netherlandstoo, there was interest in this "new art". During that period, Theo van Doesburg started looking for other artists to set up a journal and start an art movement.

Van Doesburg was also a writer, poet, and critic, who had been more successful writing about art than working as an independent artist. 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 Larenwhere he met Bart van der Leck and regularly saw M.

These two publications would greatly influence Mondrian and other members of De Stijl. Van Doesburg also knew J. In 1917 the cooperation of these artists, together with the poet Anthony Kokresulted in the founding of De Stijl. The young architect Gerrit Rietveld joined the group in 1918.

The netherlands based de stijl movement essay

At its height De Stijl had 100 members and the journal had a circulation of 300. 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. From the time of van Doesburg's association with Bauhausother influences started playing a role. These influences were mainly Malevich and Russian Constructivismto which not all members agreed.

  • Beyond the realm of architecture, the pared-down De Stijl aesthetic influenced many subsequent artists and designers of the twentieth century and beyond, among them the Abstract Expressionists Mark Rothko and Barnett Newman, Hard-edge painters Frank Stella and Frederick Hammersley, and Minimalists Donald Judd and Dan Flavin;
  • Van Domselaer was relatively unknown in his lifetime, and did not play a significant role within De Stijl;
  • The movement was an outgrowth of Conceptualism and Minimalism;
  • De Stijl consisted of artists and architects.

In 1924 Mondrian broke with the group after van Doesburg proposed the theory of elementarism, suggesting that a diagonal line is more vital than horizontal and vertical ones. In addition, the De Stijl group acquired many new "members".

Dadaist influences, such as I. Bonset 's poetry and Aldo Camini 's "antiphilosophy" generated controversy as well. Only after Van Doesburg's death was it revealed that Bonset and Camini were two of his pseudonyms. Private courses, introduction of the Cubist architecture of "De Stijl", 1921-1922.

His wife, Nelly, administered his estate. Because of van Doesburg's pivotal role within De Stijl, the group did not survive. Individual members remained in contact, but De Stijl could not exist without a strong central character.

Thus, it may be wrong to think of De Stijl as a close-knit group of artists. The members knew each other, but most communication took place by letter. For example, Mondrian and Rietveld never met in person. Many, though not all, artists did stay true to the movement's basic ideas, even after 1931. Rietveld, for instance, continued designing furniture according to De Stijl principles, while Mondrian continued working in the style he had initiated around 1920.

Van der Leck, on the other hand, went back to figurative compositions after his departure from the group. Influence on architecture[ edit ] The De Stijl influence on architecture remained considerable long after its inception; Mies van der Rohe was among the most important proponents of its ideas.

  • His wife, Nelly, administered his estate;
  • The Memphis style has been called the "ultimate fruit salad" of style;
  • Neo-Plasticism was later promoted by the movement Cercle et Carre and three issues of its eponymous journal appearing in 1930;
  • The initial source of their ideas came from DaDa notions about dispensing with the pretentious elitist design aesthetics of the pre war era;
  • Between 1913 and 1916, he composed his Proeven van Stijlkunst "Experiments in Artistic Style" , inspired mainly by Mondrian's paintings;
  • Among the artists associated with the Bauhaus are Wassily Kandinsky , Paul Klee , Joseph Albers , and Johannes Itten, all of whom published and taught their philosophies of art and design.

Examples of Stijl-influenced works by J. Present day[ edit ] Works by De Stijl members are scattered all over the world, but De Stijl-themed exhibitions are organised regularly. Museums with large De Stijl collections include the Gemeentemuseum in The Hague which owns the world's most extensive, although not exclusively De Stijl-related, Mondrian collection and Amsterdam 's Stedelijk Museumwhere many works by Rietveld and Van Doesburg are on display. The movement inspired the design aesthetics of Rumyantsevo and Salaryevo stations of Moscow Metro opened in 2016.