Favored geometrical and abstract design. De Stijil (1917-1931) A group of artists and architects in Holland organized the De Stijil movement Favored geometrical and abstract design.

The De Stijl art movement had just one goal: TO MAKE ART AS SIMPLE AND AS BASIC AS POSSIBLE. They wanted to distill art to a level of almost scientific precision and perfection. As a result, composition and balance played a huge part in their work, making the De Stijl art movement fairly influential in the next few decades of modern design and modern architecture.

neoplasticism, "The Style", also known a Dutch artistic movement founded in 1917. In a narrower sense, the term De Stijl is used to refer to a body of work from 1917 to 1931 founded in the Netherlands

Some historians call this movement “Constructivism”, that was an art movement originated in Russia in the 20th. Century

restricted his paintings to: Painters such as: “Piet Mondrian (1872-1944) restricted his paintings to: abstract geometric lines, shapes, and primary colors with black and white.

KEY IDEAS

Like other avant-garde movements of the time, De Stijl, which means simply "the style" in Dutch, emerged largely in response to the horrors of World War I and the wish to remake society in its aftermath. Viewing art as a means of social and spiritual redemption, the members of De Stijl embraced a utopian vision of art and its transformative potential.

Among the pioneering exponents of abstract art, De Stijl artists espoused a visual language consisting of precisely rendered geometric forms - usually straight lines, squares, and rectangles--and primary colors. Expressing the artists' search "for the universal, as the individual was losing its significance," this austere language was meant to reveal the laws governing the harmony of the world.

Even though De Stijl artists created work embodying the movement's utopian vision, their realization that this vision was unattainable in the real world essentially brought about the group's demise. Ultimately, De Stijl's continuing fame is largely the result of the enduring achievement of its best-known member and true modern master, Piet Mondrian.

Pure Geometric Abstraction and the De Stijl Visual Language CONCEPTS AND STYLES Pure Geometric Abstraction and the De Stijl Visual Language

De Stijl was the first-ever journal devoted to abstraction in art, although the movement's artists were not the first to practice abstract art; other painters, perhaps most notably Wassily Kandinsky, Kazimir Malevich and Hans Arp, had earlier created NONOBJECTIVE ART, often incorporating geometric forms in their work.

Artists and Architects associated with DE STIJL - PAINTERS such asMondrian, van Doesburg and Ilya Bolotowsky, and ARCHITECTS such as Gerrit Rietveld and J. J. P. Oud - adopted what they perceived to be a PURER FORM OF GEOMETRY, consisting of forms made up of straight lines and basic geometric shapes (largely rendered in the three primary colors);

These motifs provided the fundamental elements of compositions that avoided symmetry and strove for a balanced relationship between surfaces and the distribution of colors.

Sculptors, architects, and designers such as Gerrit Rietveld (1888-1965), used basic elements to compose their work. Architects and designers turned to flat plane, geometry, and simple forms to echo the De Stijil principles.

The most noted design of the movement was Rietveld’s “Red-Blue Chair” The hiding of the flat planes, simple joinery, hiding the natural wood with paint, and sharp edges all allude to the aesthetics and precision cutting of machine manufacturing, as opposed to the Crafted Furniture of earlier eras.

is a chair designed in 1917 by Red Blue Chair is a chair designed in 1917 by Gerrit Rietveld. It represents one of the first explorations by the De Stijl art movement in three dimensions

THE MODULAR GRID Rietveld's module is 10 cm.

the three dimensional joint of the red-blue chair

De Stijl had a major influence on Bauhaus architecture and design; several members of De Stijl taught at the Bauhaus, perhaps most importantly Van Doesburg, who lectured there in 1921-22. De Stijl's geometric visual language, along with its architectural concepts such as form following function and the emphasis on structural components, would reverberate in Bauhaus architectural practice, as well as the global idiom known as the "International Style."