December 2007 59 Dutch Influence in Art De StijlBy Tara Jensen A New Beginning Between the year 1900 and1945 Modernism took over the world of art. The ways of understanding the world were changing with the discoveries of chemistry and physics, which caused artists to look at the world in an entirely new way. It was a time of rebellion for a very large number of artists who were challenging traditional art. Since there were so many artists challenging traditional art during this time, there came to be many different art movements throughout the modern time period. For a short period of time Dutch Modernism had an influence on modern art at the birth of abstractionism. This movement was referred to as De Stijl, which is Dutch for “The Style.” This particular movement began nearing the end of WWI and for some time after; from the year 1917 through 1932 led by Piet Mondrian. What began with Wassily Kandinsky’s love of arranging colors and lines later became a belief that lines and color alone could be used to transmit emotion rather than simply imitate nature. The emphasis on color to Art on this page: Piet Mondrian Composition A with Blavk, Red, Yellow, and Blue Design History 60 Art on this page: Theo van Doesburg Counter-Composition XIII December 2007 December 2007 61 a belief that lines and color alone could be used to transmit emotions convey emotions went against the teachings students artists before this time learned in art academies, which had placed more period. Painting was importance on design. Piet Mondrian, along with seen as the imitation Theo van Doesburg, Bart van der Leck, and Georges of nature, but the De Vantongerloo, began “De Stijl,” the magazine that made Stijl artists began these abstract ideas public in the form of painting, to manipulate the sculpture, architecture, graphics, and industrial design colors, shapes and and created the name for the movement. The style of proportions to such an De Stijl art was so different that it made its mark in extent that it no longer so many different areas. It gave people of that time a connected with reality. strong desire to partake in the design of a new world. The ideas of the De Stijl movement In 1920 De Stijl artists began emphasize symboliza- to use simple geometric tion and décor, which elements and primary colors was something very which were viewed as being new in the world of art. “pure.” These ideas bring to mind the well known square Piet Mondrian was a and straight line oil paintings bit different than his by Mondrian which seem to peers in the way that represent the De Stijl move- he wanted to be so ment. He keeps it simple abstract that he was with his use of color, never no longer representing going beyond the primaries anything other than blue, red, and yellow, and the space, emotion and geometry. The three other De Stijl “non-colors” black, gray and painters were using those ideas, yet still relying heavily white in his series. He stuck on nature even though they are extremely abstract to a strong grid structure as we can see through a few examples. Theo van where everything is abstracted Doesburg’s stained glass window, Composition II is a down to the simplest geo- geometric stylization of a seated nude. Bart van der metric shapes. Some other De Leck’s famous Composition 1918 no. 5 is based on a Stijl members would also use landscape study. Georges Vantongerloo’s composition circles and triangles at this Indigo-Violet is an abstract rendition of Rogier van time, and a palette which was der Weyden Pieta. Mondrian did have some repre- slightly more extensive, but sentative pieces, like Broadway Boogie Woogie, which the ideas behind the works is representative of the grid-like pattern Manhattan were still very similar. This Streets formed on a street map. However, rather style fought the normalities than representing nature, he is representing a and rules followed by all other man-made structure. Art on this page: Piet Mondrian Broadway Boogie Woogie Design History Design History 62 December 2007 63 an entirely new art form that was seen in all aspects of art from painting to architecture Bois, Yve-Alain. “De Stijl Mania.” Art in America. v. 73. January De Stijl concepts were used De Stijl had a very large influence on the movements 1985. p 13-16 in art forms outside of painting following it, seeing as it was the starting point of a Blotkamp, Carel. “De Stijl and Dutch Modernism.” Art History. as well. The 1st person to drastically different style of art that had never been v. 27, no. 3. June 2004. p 470-4 Crepaldi, Gabriele. “Modern Art1900-1945: The Age of Avant- successfully put the ideas the of used before. There was no abstraction in art before Gardes.” Mondadori Electa S.p.A. Milano, 2007 De Stijl into other media was and during the De Stijl movement artists used the Metz, Tracy. “Beyond De Stijl.” Architectural Record. February Bart van der Leck with his idea of abstraction to its fullest; where paintings no 1993. p 42 New Hybrid art, the “abstract longer had a connection with reality. Movements like interior.” The most important Bauhaus, Futurism, Fauvism, and Cubism remained part about the architecture abstract and had a strong basis on simple forms and structures he created was that simplicity in general which were all ideas that began the walls didn’t stop where they at the beginning of Abstract art with De Stijl. meet creating distinct corners like in most buildings/houses. So, with changes in chemistry and physics, the world Instead the walls would curve was being looked at in a whole new way, which had and continue around corners, an impact on several artists. Mondrian and his hiding the architectural skeleton, peers wanted to be a part of the new world turning each room into an changes rather than continue with the abstract and total space. Other traditional art they had been taught in the types of art that weren’t quite as academies. Though some didn’t com- successful would imitate the style of pletely stray from traditional ideas De Stijl art, but didn’t fully understand the since some paintings were ideas. One example, which is a pretty popular based off of nature, but they imitation, is Gerrit Rietveld’s Red Blue Chiar. The were no longer allowing chair was designed first, then painted in primary art represent nature. colors to echo the De Stijl movement. So the creation They successfully of the chair didn’t begin with the ideas of De Stijl created an entirely which is probably why it wasn’t quite as successful. new art form that was The reason it wasn’t a success- seen in all aspects of art ful representation of De Stijl from painting to architecture. The starting point of a drastically ideas is because the modernist The new ideas of Abstractionism concept of space is transformed took a part in almost every new art different style of art that had into something traditional with form following it. A lot of ideas found the Red Blue Chair. This chair in later art movements could be traced never been used before has been criticized to show that back to basic ideas in De Stijl art, which is sometimes simply copying the art is to completely pretty impressive when you consider the fact misunderstand it, which is what happened when the that it was a movement that only lasted 15 years. chair was painted in a way to mimic De Stijl, rather than design with the De Stijl concepts to begin with. Art on this page: Piet Mondrian Tableau No. IV Lozenge Art on this page: Gerrit Rietveld Red Blue Chair Composition with Red, Gray, Blue Yellow, Black Design History Design History.