The visual language of the De Stijl artists consisted of geometric forms which The artistic philosophy that formed a basis for the group's work is known as Neoplasticismthe new plastic art (or Nieuwe Beelding in Dutch). This feature can be found in the Rietveld Schrder House and the Red and Blue Chair. February 9, 2010, By Paul Levy / See Article History. Mechano-Dancer's evocation of a hybrid man-machine, also implied by its title, suggests the influence of Dada and Italian Futurism. The Netherlands-based De Stijl movement embraced an abstract, pared-down aesthetic centered in basic visual elements such as geometric forms and primary colors. Oud can be found in Rotterdam (Caf De Unie[nl]) and Hoek van Holland. 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, yet manage to avoid intersection. Works by De Stijl members are scattered all over the world, but De Stijl-themed exhibitions are organised regularly. The old one is directed toward the universal, "We speak of concrete and not In 1918 he had a poem incised on the underside of his Red and Blue Chair that read, "When I sit, I do not want to sit as my seated flesh likes, but rather as my seated spirit would sit, if it wove the chair for itself." 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.H.J. Schoenmaekers. Gerrit Thomas Rietveld, Schroder House (1924), The [4] The De Stijl movement posited the fundamental principle of the geometry of the straight line, the square, and the rectangle, combined with a strong asymmetricality; the predominant use of pure primary colors with black and white; and the relationship between positive and negative elements in an arrangement of non-objective forms and lines.[5]. universal values, There is an old and new consciousness of the De Stijl, (Dutch: The Style) group of Dutch artists in Amsterdam in 1917, including the painters Piet Mondrian, Theo van Doesburg, and Vilmos Huszr, the architect Jacobus Johannes Pieter Oud, and the poet A. Kok; other early associates of De Stijl were Bart van der Leck, Georges Vantongerloo, Jan Wils, and Robert vant Hoff. Between 1913 and 1916, he composed his Proeven van Stijlkunst ("Experiments in Artistic Style"), inspired mainly by Mondrian's paintings. [7] The works of De Stijl would influence the Bauhaus style and the international style of architecture as well as clothing and interior design. From the time of van Doesburg's association with Bauhaus, other influences started playing a role. Composition A - whose title announces its nonobjective nature by making no reference to anything beyond itself - is a good example of Mondrian's geometric abstraction before it fully matured within the framework of the De Stijl aesthetic. However, it did not follow the general guidelines of an "-ism" (e.g., Cubism, Futurism, Surrealism), nor did it adhere to the principles of art schools like the Bauhaus; it was a collective project, a joint enterprise. For example, Mondrian and Rietveld never met in person. In addition, the De Stijl group acquired many new "members". Originally designed in 1918 but not fully realized until 1923, when it incorporated the characteristic De Stijl scheme of primary colors, Red and Blue Chair is one of the canonical works of the movement. It was hoped that these inquiries would yield ideas for mass production. Mondrian called his style Neo-Plasticism or The NewPlastic Painting, the title of his famous 1917 essay promoting abstraction forthe expressionofmodern life. Van Doesburg's most famous work experimented with geometric abstraction and archetypal forms. This minimalisticand, at the time, revolutionarymusic defined "horizontal" and "vertical" musical elements and aimed at balancing those two principles. February 5, 2010, By Jeremy Melvin / It was an important influence on Constructivism. Around 1921, the group's character started to change. 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 character of materials. Only after Van Doesburg's death was it revealed that Bonset and Camini were two of his pseudonyms. Thus, it may be wrong to think of De Stijl as a close-knit group of artists. They believed it was an new age after WWI. Van Doesburg also knew J.J.P. Oud and the Hungarian artist Vilmos Huszr. January 2005, By Hilton Kramer / Van Domselaer was relatively unknown in his lifetime, and did not play a significant role within De Stijl. 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