Hungarian painter V. Husar, architect J. J. p. p. Ude, poet A. Cork and sculptor G. Van Dunglo attended De stijl. Under the slogan of "abstraction and simplicity", de stijl advocates the spirit of mathematics. Everything that lacks clarity and order is called baroque by them, and they all oppose it. In mondriaan's and Doesburg's paintings, the horizontal and vertical lines are combined into a right angle or rectangle on the plane, and the three primary colors of red, blue and yellow are arranged in the middle. Van Denlow applied this principle to sculpture. Different from mondriaan, his works are based on mathematical analysis, combining some simple three-dimensional units into a certain spatial pattern in a vertical and parallel symmetrical way. Style schools had a considerable influence on architecture in the first half of the 20th century.
De stijl not only cares about aesthetics, but also tries to renew the connection between life and art, and tries to create a new way of life while creating a new visual style. Tao Sibo claimed: "Art ... has developed into a force powerful enough to influence all cultures, not the art itself influenced by social relations." In his view, painting and sculpture are no longer irrelevant to architecture and furniture, they all belong to the same category, that is, the means to create a harmonious visual environment. This idea of transforming the world with art is obviously too idealistic.
Although Desterbon's works have no understandable theme, they are often labeled as "Composition X". However, these works have profound connotation and significance, and they reflect the mentality of most Europeans who are eager for harmony and balance. Mondriaan believes that painting can provide a temporary substitute as long as universal harmony does not become a reality in daily life. It is no accident that de stijl appeared in the Netherlands, which is consistent with the "Dutch spirit" of human conquest of nature and the Dutch Puritan tradition of advocating restraint and purity. Some people think that the artificial Dutch scenery, such as square fields, straight roads and canals, are hidden themes in Desterbon's paintings, which is a bit far-fetched, but Desterbon's art does express the victory of human spirit in controlling the unpredictable nature and the concept of beauty in purity and simplicity in a geometric and accurate way.
Representative figure
Painter P mondriaan
Ritveld
Dusberg
representative works
The low cabinet designed by Ritveld in 19 19.
Ritter Wilder, one of the most influential doers in de stijl, expanded de stijl art from plane to three dimensions, created beautiful and practical buildings and furniture with simple basic forms and three primary colors, and embodied de stijl's artistic principles in a practical way. Ritveld studied furniture with his father at the age of 8, and began to study architecture at the age of 20, which was deeply influenced by the arts and crafts movement. 19 1 1 year started his own furniture store, 19 18 year joined de stijl. He designed a lot of furniture in his life, among which the red and blue chairs are undoubtedly the most creative and important works in the art history of the 20th century.
These works, with their perfect and concise material form, embody the philosophy of Desterbon Movement and show people that abstract principles can also produce satisfactory works. The red and blue chairs are typical works of de stijl. In the history of art, it is difficult for people to find a comparable work that can perfectly embody an artistic theory. It consists of machine-made battens and laminated boards, and 13 battens are perpendicular to each other, forming a basic structural space. The components are fastened with screws instead of tenons, which will not destroy the integrity of the components. The back of the chair is red, the cushion is blue, and the battens are painted black. The ends of the slats are painted yellow to show that the slats are only part of a continuous extension assembly. Park Jung Su Wilder once commented on the red/blue chair: "The structure should serve the coordination between components to ensure the independence and integrity of each component. In this way, the whole can be erected freely and clearly in space, and the form can be abstracted from matter. " The red/blue chair is both a chair and a sculpture. Although it is not very comfortable to sit up, it is quite functional according to the original purpose of the designer. A few years later, Littleveld designed a set of chandeliers. Mass-produced lamps are fixed with small black blocks, then hung, two horizontally and one vertically, and become a practical and unpretentious lamp. This kind of lamp was later widely adopted by Bauhaus.
Interior Layout of Utrecht Residential Floor
At the end of 1923, Ritveld designed a house in the suburb of Utrecht, the Netherlands. This is his first important architectural work, and its most striking feature is the visual independence of each component. By using overlapping and interwoven components and using primary colors to emphasize the characteristics of different components, an open and dexterous architectural image is created. Indoor furnishings also reflect the same flexibility as outdoor. The only fixed things in the floor plan are the bathroom and kitchen, which can be divided freely to meet different needs. Exterior color design is also used indoors to distinguish different components with colors, which is rich in decorative meaning. The design of this house can be said to be a three-dimensional painting by mondriaan.
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