Destijl movement Utopian values
The De Stijl Movement of the early twentieth century was founded in 1917 by Theo Van Doesburg. Initially established as a journal, he brought together a group of artists, architects, sculptors, designers and writers who collectively published the first issue of the journal entitled, De Stijl (the style). By publishing this they hoped to create a dais for the voice of the modern world and the avant-garde. As this new form of art was emerging Van Doesburg realised that the work had to be accompanied by a literary commentary, almost having to defend their innovations and theories. It was hoped that in printing such a journal they were developing a new public awareness of what was considered beautiful and so making them more open to modern art. The De Stijl believed art was capable of leading mankind toward a brighter future, a new and revolutionary utopia. By looking at the work of three of the most prominent members, Theo Van Doesburg, Piet Mondrian and Gerrit Rietveld, we can see how their cumulative utopian ideals manifested through their individual projects. Universal harmony was the focus of the De Stijl. Art had a new mission. It preceded life and showed the way to the realisation of universal harmony. T
As a result of this quest he arrived at the grid that has become his defining moment in art. Rietveld used this approach in the design of his houses and furniture. hey wanted to bring mankind to light and purity that would spill to every facet of life, including politics, music, architecture and theatre. His purpose in this alternative concept was to create a collective art that was pure and free from human tragedy, as opposed to the individualistic approach to art. He would paint and stick square and rectangles of pure colour on a white background. They were unwilling to compromise their theories, instead producing work that was severe in its stylistic purity. The overall effect was one of openness and weightlessness using planes and lines that appeared to hover in space. The De Stijl members believed that this universal enlightenment and harmony was obscured by the individualism and irrelevancies of life. The search for an idealistic world was best demonstrated and revealed in the paintings, sculptures and buildings of the De Stijl. Unfortunately, these beliefs were largely unrealistic. Even so, what the group failed to address was that individuality is the very essence of being human and that true universal harmony can only be attained when that individuality is embraced and accepted by all. It represented a new age and a new way of living. Rietveld's intention was to reduce his furniture to its basic components and have little mass and volume, unlike the furniture of the past. These constructions, in contrast to architecture of the past, were anti-decorative. Load bearing walls were replaced by internal pillars so that exterior walls could be used as artistic statements.
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Acceptance Essays
