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DE STIJL: 1917-1931 Visions of Utopia C- University of Rhode Island DigitalCommons@URI Education: National Endowment for the Arts and Arts and Humanities: Correspondence (1982) Humanities, Subject Files II (1962-1996) 1982 Arts and Humanities: Correspondence (1982): Article 01 Follow this and additional works at: http://digitalcommons.uri.edu/pell_neh_II_7 Recommended Citation "Arts and Humanities: Correspondence (1982): Article 01" (1982). Arts and Humanities: Correspondence (1982). Paper 18. http://digitalcommons.uri.edu/pell_neh_II_7/18http://digitalcommons.uri.edu/pell_neh_II_7/18 This Article is brought to you for free and open access by the Education: National Endowment for the Arts and Humanities, Subject Files II (1962-1996) at DigitalCommons@URI. It has been accepted for inclusion in Arts and Humanities: Correspondence (1982) by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. - Visions of Utopia DE STIJL: 1917-1931 Visions of Utopia c- -- •• Piet Mondrian in his studio in Paris, 1926 "Art is only a substitute while the beauty of life is still deficient. It will disappear in proportion, as life gains in equilibrium." In the chaotic period toward the end of the Pioneers of modernism in the Netherlands, First World War, a small and often conten­ the members of the De Stijl movement tious group of Dutch artists united under envisioned a utopian synthesis of art and the banner of De Stijl or "The Style." Be­ life. Piet Mondrian, the foremost painter of tween 1917 and 1931, the painters Theo the group, went so far as to predict: van Doesburg and Piet Mondrian, the de­ "Art is only a substitute while the beauty of signer Gerrit Rietveld, and such architects life is still deficient. It will disappear in as Robert van't Hoff, Jan Wils, and J. J. P. proportion, as life gains in equilibrium." Oud sought to develop a universal style in From 1917 through 1931, this visionary painting, sculpture, architecture, and design. artistic credo found expression in the pages They and their collaborators, including such of the Dutch magazine De Stijl, which served international modernists as the Belgian as the primary forum for the loose confed­ sculptor Georges Vantongerloo, the Hun­ eration of artists who belonged to the garian painter Vilmos Huszar, and the French movement. De Stijl's ideal of the fusion of all artists Hans Arp and Sophie Taeuber-Arp, the arts into a harmonious, abstract envi­ were firmly committed to the principle of ronment profoundly influenced the course absolute geometric abstraction. of twentieth-century art. Cinema-dance hall in the Cafe Aubette, Strasbourg, designed by Theo van Doesburg, 1928 The last issue of De Stijl magazine, The Heritage of De Stijl published in 1932, was a memorial to Theo and the International van Doesburg. Yet even before his death, the De Stijl principles of geometric abstrac­ Avant-Garde tion were perpetuated through the formation of the Abstraction-Creation group in Paris De Stijl as a formal movement ceased with in 1930. Although van Doesburg, Mondrian, the death of Theo van Doesburg in Davos, and the other participants in the De Stijl Switzerland, on March 7, 1931 . By then movement never fully realized their utopian he had transformed a small, national move­ aspirations, their bold works and visionary ment into an internationally recognized theories have had a continuing influence on vanguard aesthetic. During the decade of the evolution of modern art, architecture, the twenties, he had enlisted the support of and design in this century. such key members of the international The Washington presentation of this exhibition is avant-garde as the German artist and supported by a grant from Champion International filmmaker Hans Richter, the Italian futurist Corporation. The exhibition was organized by Walker Art Center, Minneapolis, with major funding from the National Gino Severini, and the Russian construc­ Endowment for the Arts, the National Endowment for the tivist El Lissitzky. In his travels abroad, van Humanities, Champion International Corporation, and the Doesburg made contact with the leaders of government of the Netherlands. An indemnity was pro­ the Bauhaus in Germany and with the vided by the Federal Council for the Arts and Humanities. members of the Dada movement in France Hirshhorn Museum and Sculpture Garden and Switzerland. His interaction with these Smithsonian Institution important artists proved to be mutually April 20-June 27, 1982 enriching for both De Stijl and the inter­ national movements contemporaneous with it. Paper: Champion International Corporation rational idealism and austere imagery of De Origins of De Stijl Stijl to the pervasive puritan ethic in Calvinist Holland. In May 1917, Piet Mondrian (1872-1944) and Theo van Doesburg (1~1931) agreed From Neo-Plasticism to in principle to found a magazine to promote their aesthetic ideals, ~rom the inception of !lementarism Oe Stijl, the v-ersatile artist and writer van Doesburg remained the central personality and chief advocate for the movement. He served as editor of De Stijl magazine from 1917 until his death in 1931. Through his zeal and persistence, many other Dutch artists, architects, poets, and designers joined the cause of pure abstraction. Even .. tually, Theo van Doesburg extended the influence Of De Stijl well beyond Holland's borders. Conditions ih neutral Holland during World War I favored the initial growth of fhe De Stijl movement in the Netherlands. The outbreak of the war prevented Mondrian from leaving nis native land in 1914 to return to Paris, where he had been working before the war. For the duration, he was available to collaborate with his fellow Piel Mondrlan •. Composlffon with Red, Yellow, and 8/ue, 1922, oli on C:anva&, 16Inx19 Ye lncheS. Toledo Mu&eum of Art, countrymen, particularly Bart van der Leck gift cit Ectward Onimmonct Ubb8y (1876-1958) ~nd van Doesbyrg, Similarly, the sculptor Georges Vantongerloo found a While Theo van Doesburg was the chief haven in Holland as a Belgian war refugee, founder and proselytizer ofthe movement, The conflagration of the war convincea Piet Mondrian devised the theory of "pure these artists that the old social order wou Id plastic art" and created the abstract imagery not survive in the twentieth century. They for which the movement is best known. felt compelled to reassess cultural, artistic, According to his precepts, visual expression and $Ocial values. would be limited to the use of the straight line, the right angle (that is, the interplay of The resulting utopian and collective ideals horizontal and· vertical axes), and the of the De Stijl movement had deeper roots primary colors red, yellow, and blue with in the art and theory of late•nineteenth• the addition of the neutral ''non•colors" century Europe. The transcendental and white,-black, and gray. Application.of these visionary impulses of Symbolism and principles would produce an abstract, Theosophy inspired the Dutch artists. For geometric art totally devoid of figurative or example, both Mondrian and van der leek naturalistic references. were profoundly influenced by the writings of the Dutch philosopher and theosophist Van Doesburg summed tJP their rationale Dr. M. H. J. Schoenmaekers, who believed for anti-realistic art: "The object of nature is that the essence of reality could be ex­ man/The object of man i$ style," Mondrian pressed as a sequence of opposing forces. called their new abstract imagery Neo­ Atthe same time, their interest in creating a Plasticism, which he explained in these total, abstract environment may be traced terms: "The tryly modern artist is aware of to the tenets of the Arts and Crafts move­ abstraction in an emotion of beauty·; , .. the ment. Historians have also attributed the emotion of beauty is cosmic, universal. This claimed that the diagonal provided a "The truly modern artist is aware of dynamic resolution of the static opposition abstraction in an emotion of beauty; of the vertical and horizontal. He called this ... the emotion of beauty is cosmic, departure from neo-plastic painting universal. This conscious recog­ Elementarism. Van Doesburg's new theory nition has for its corollary an ab­ alienated Mondrian, who continued to ad­ stract plasticism, for man adheres here strictly to the horizontal/vertical prin­ only to what is universal." ciple. This theoretical difference caused Mondrian to dissociate himself from the conscious recognition has for its corollary magazine and the De Stijl movement. Van an abstract plasticism, for man adheres Doesburg continued his passionate advo­ only to what is universal." By 1917 both cacy of De Stijl. His elementarist paintings, painters had created completely non­ known as "countercompositions," were objective paintings. Works such as Mon­ directly related to his efforts to realize the drian's Composition with Red, Yellow, and ultimate ideal of De Stijl -the harmonious Blue (1922), van Doesburg's Cow (1916 - integration of all the arts in an abstract 17), or van der Leek's Composition environment. (1918-19) exemplify the collective style of Neo-Plasticism. This abstract geometry of nee-plastic painting represented the logical Architecture and development of Cubism, a style that Mondrian had been gradually reducing to a Environment gridlike opposition of horizontal and vertical elements. While the painters developed the visual vocabulary of De Stijl, architects and Around 1925 Theo van Doesburg disrupted designers extended the principles of ab­ the solidarity of De Stijl and the collective straction in the third dimension. Central to vision of neo-plastic painting. The editor of their endeavors was their collaboration De Stij/ magazine deliberately "violated" with the painters in pursuit of a total, har­ the neo-plastic principle of orthogonal moniously designed environment. In 1924, (right angle) orientation of vertical and hori­ van Doesburg and the architect Cornelis zontal axes; he introduced the diagonal van Eesteren announced: " ... we have axis into his compositions. Van Doesburg examined architecture as the plastic unity of all the arts.
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