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ABSTRACT Title of Dissertation: a WORLD for ALL and NONE: DE ABSTRACT Title of Dissertation: A WORLD FOR ALL AND NONE: DE STIJL, MODERNISM, AND THE DECORATIVE ARTS Devon Quinn Zimmerman Doctor of Philosophy 2020 Dissertation directed by: Professor Steven Mansbach, Department of Art History and Archaeology In October 1917, the first issue of the journal De Stijl was printed in the Netherlands under the editorial leadership of Theo van Doesburg. The publication became a nexus around which a core group of progressive artists, architects, and designers were brought together. They all shared a similar goal: to be a platform through which a new aesthetic would be declared, one that would diagnose and resolve the social, cultural, and metaphysical conditions that had led to the First World War. The group’s vision was totalizing, meant to encompass all forms of art, from armchairs to architecture. This dissertation explores the position of the decorative arts within De Stijl’s utopian project. The decorative arts were the bellwether of many of the principal social, cultural, and political problems that modernity brought to the fore. As a result, the polemics that emerged from the decorative arts profoundly informed the development of De Stijl’s artistic praxis and theoretical framework during the formative years of the group. By acknowledging the origins of many of De Stijl’s intellectual and aesthetic positions within the decorative arts, this dissertation aims to present a renewed perspective on the group’s formal projects in interior design, stained glass, and furniture. By rooting the work of these artists within the instrumental role of the decorative arts, this dissertation gives needed attention to these essential, yet undertheorized aspects of De Stijl’s utopian project to provide new insights into one of the most prominent artistic movements of the interwar period. In doing so, it endeavors to call for a broader reassessment of the intrinsic role the decorative arts played in the emergence of modernism broadly, and the practice of the European avant-garde specifically, in the years following World War I. A WORLD FOR ALL AND NONE: DE STIJL, MODERNISM, AND THE DECORATIVE ARTS by Devon Quinn Zimmerman Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2020 Advisory Committee: Professor Steven Mansbach, Chair Professor Abigail McEwen Professor Joshua Shannon Professor Nancy Troy Professor Ralph Bauer © Copyright by Devon Quinn Zimmerman 2020 DISCLAIMER: The dissertation document that follows has had referenced material removed in respect for the owner's copyright. A complete version of this document, which includes said referenced material, resides in the University of Maryland, College Park's library collection. i Acknowledgements I could not have arrived at this point without the help and support of many. This dissertation emerged from a seminar on modernism and its utopias taught by Professor Steven Mansbach. Since I posed a question about a stained-glass window in a photograph of Theo van Doesburg, he has been unwavering in his generosity of time and attention. Professor Mansbach’s thoughtful comments and guidance over the years has shaped not only this project, but my identity as a scholar. To him, I am ever grateful. This project was able to take shape with the time afforded to me by the University of Maryland’s Summer Research Fellowship. I am also thankful for the support of the Robert H. and Clarice Smith Doctoral Fellowship in Art History, which enabled so much of my research travels. I appreciate the help I received from the many people and institutions who assisted my research. I want to thank Aeron MacHattie at the Canadian Centre for Architecture for her assistance. In the Netherlands, I would like to thank Marleen Bonekamp for facilitating my research at the Kröller–Müller Museum. In Drachten, I very much appreciate the generosity of the staff at the Drachten Museum, notably Annamieke Keiser, who allowed me to view the then recently restored apartment designed by Van Doesburg, as well as the artist’s two in situ stained-glass windows. Both experiences profoundly shaped my view of the De Stijl figure’s work. In The Hague, Herbert Wolff de Beer kindly hosted my research at the Kunstmuseum Den Haag. Finally, in Rotterdam I want to thank Elza van den Berg at Het Nieuwe Instituut. ii Thank you to Professor Abigail McEwen and Professor Joshua Shannon for your ongoing support over the course of my graduate studies. Thank you as well to Professor Nancy Troy, whose work has so greatly influenced my understanding of De Stijl. Completing this dissertation was greatly aided by the University of Maryland Museum Fellowship and the Cooper Hewitt, Smithsonian Museum of Design. There, in particular, I want to thank Yao-Fen You, Cindy Trope, and the rest of the staff. At the University of Maryland, I would also like to thank Deborah Down, Bernadette Morse, and Caroline Blevins for all of their logistical support. This dissertation marks a culmination of study which would not have been possible without the guidance of many. I want to thank Professor Claude Cernuschi, whose lectures on art history inspired me to pursue the field. I also want to express my great appreciation for Professors Robert Lubar and Linda Nochlin, both of whom made great impressions on me and my scholarship. I also would like to thank Helen Evans. Without her guidance and advocacy, I would not be at this point today. Finally, I would like to thank my family. To my mother, Martha, who now boasts an encyclopedic knowledge of Dutch modernism that rivals my own, and my father, Steve, who was always willing to act as a sounding board, thank you. To my wife, Sarah, thank you for your unfailing support and patience. Without you none of this would have been possible. iii Table of Contents Acknowledgements .............................................................................................................. i Table of Contents ............................................................................................................... iii List of Figures .................................................................................................................... vi Part 1: De Stijl Theory ........................................................................................................ 1 1 Introduction: De Stijl, Modernism, and the Decorative Arts ........................................... 2 De Stijl and Modernism in the Netherlands .................................................................. 5 Who’s Afraid of the Decorative Arts? .......................................................................... 8 The Shape of Modernism ............................................................................................ 11 In What Stijl Should We Build? ................................................................................. 12 Methodology ............................................................................................................... 16 2 The Style of History: Philosophical Paradoxes of De Stijl ............................................ 21 Historicism and the Problem of Stylistic Eclecticism ................................................. 22 A Style of Forgetting: The Nietzschean Foundations of De Stijl Theory ................... 32 Hegel, History, and Style: De Stijl’s Use of Hegelian Thought ................................. 43 Conclusion .................................................................................................................. 52 3 A Historiographic Anachronism: De Stijl and the Decorative Arts .............................. 54 De Stijl/Der Stil: Gottfried Semper and the Principle of Bekleidung ......................... 58 Metaphors of Gothic: Ruskin, Morris, and Ethics in the Decorative Arts .................. 66 Gothic Geometry: Viollet-le-Duc and Rationalism .................................................... 72 Frank Lloyd Wright: A Bridge to the Machine .......................................................... 77 Against Art Nouveau: Hermann Muthesius and Sachlichkeit .................................... 85 Hendrik Petrus Berlage: The Style of Gemeenschapskunst ........................................ 90 Conclusion .................................................................................................................. 98 Part 2: De Stijl Practice ................................................................................................... 101 4 Developed Surface/Heterotopic Space: De Stijl and the Developed Surface Interior . 102 Developing a Surface for the Interior ....................................................................... 105 The Surface and the Seam ......................................................................................... 114 Developed Surface/Heterotopic Space: The De Stijl Environment .......................... 127 From Stemming to Gestemdheid: Creating the “New Man” in the New Interior ..... 141 iv From Interior to Exterior: Van Doesburg in Drachten .............................................. 156 Conclusion ................................................................................................................ 168 5 Pattern as Model: De Stijl, Ornament, and Abstraction ............................................... 171 Modern Theories of Ornament in the Netherlands ................................................... 174 A Nieuwe Pedagogy
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