Download - Destijl Artist Book
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01ISSUE 01
1917
19
31
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05 07
11
13CONTEN
TS
03ISSUE 01
WHEN DID IT ALL BEGIN?
WHO WERE THE PIONEERS?
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15
27 27
29 31
THEDESTIJ
LTYPEFACE
04ISSUE 01
WHENDIDTHE
MOVEMENTSTART?
CHARACTERISTIC
S
OF
NEO-PLASTICIS
M
ARCHITECTURE INSPIRED BY DESTIJL
WHO ELSE WAS INSPIRED BY DESTIJL?
HOW HAS DESTIJL CHANGED?
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05ISSUE 01
Twentieth century art is seen bymany as a series of movements
evolving from either an oppositionto or an extension of concepts ofprevious movements. While some
movements quickly pass the newnessstage in their lifespans, theirphilosophies continue to live on,even though greater attention maybe given to even newer movements.In the case of De Stijl and Neo-Plasticism, the theoretical end
of this life span came with thedeaths of two of its founders, PietMondrian and Theo Van Doesburg.Here we explore the fascinatingart movement and its influences on
contemporary culture.
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06ISSUE 01
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07ISSUE 01
WHENDIDTHE
MOVEMENTS
TART?
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1872-1944
Dutch pioneer of abstractart, who developed from early
landscape pictures to geometricabstract works of a most rigorouskind. Born in Amersfoort, Utrecht.
Studied painting at the AmsterdamAcademy 1892-4 and again, part-time, 1896-7. Friendship withthe painter Simon Mans andpainted landscapes in theHague School tradition.
He joined the TheosophicOrganisation in 1909 andmade some works of a Symbolistcharacter. First one-man exhibitionwith C.R.H. Spoor and Jan Sluyters
at the Stedelijk Museum, Amsterdam,1909. Lived in Paris 1912-
14; was influenced by Cubism,which he carried to the point ofabstraction. Returned to Hollandin 1914 and step by step evolveda more simplified abstract stylewhich he called Neo-Plasticism,restricted to the three primarycolours and to a grid of black
vertical and horizontal lines ona white ground; associated withvan Doesburg in the de Stijlmovement 1917-25. Lived 1919-38 in
Paris where he joined the groupAbstraction-Cration in 1931.
Moved to London 1938-40, livingnear Gabo and Ben Nicholson,then in 1940 to New York wherehe started to develop a morecolourful style, with colouredlines and syncopated rhythms.Died in New York.
p i etmondr i an
WHO WERE THE PIONEERS?
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12ISSUE 01
Theo vanDoesburgDutch painter, architect,designer and writer. Little
is known of his early life,but he began painting naturalisticsubjects With the mobilisation
of the Dutch forces followingthe outbreak of World War I, vanDoesburg was sent to Tilburgnear the Belgian front. Almostimmediately he began to contemplateand organize a new periodical,De stijl: Maandblad voor nieuwe
kunst, wetenschap en kultuur,not to be fully realised foranother two years.
In 1916 van Doesburg
participated in the foundationof the artists' associations De
Anderen and De Sphinx. He metother like-minded artists, andeven such architects as J. J.P. Oud. In August 1916 Oudcommissioned him to designa stained-glass window. Thiscommission was followed bynumerous others in stained glass.
He produced series of drawingsfrom a single subject where theheavy, emphatic outline wasprogressively essentialised'
to a minimum of horizontal andvertical lines bounding colouredplanes. This technique of painterly
composition lent itself admirablyto the creation of stained-glass windows.
From 1925 van Doesburg intended tobuild a studio-house. It markedhis transition from painter to
architect. Unfortunately, beforethe house was finished, he died ofa heart attack following a bout ofasthma. Shortly before his death hepublished his
first and only issue of Art concretand was involved in planning a new
group of artists, the emergentAbstractionCration.
18831931
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AB CI JK L
R S TU
Za a a
3 4 56
b
13ISSUE 01
Theo van Doesburgand Richard KeglersDe Stijl typeface, is
rooted in the geometricconcept of the square.
THE
DESTIJL
TYPEFACE
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EFG HN O P O
W X Y
i 0 1 2
89 s
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15ISSUE 01
CHARACTERISTICS
OF
NEO-PLASTICISM
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The rules of this artform
were designed to produce pure,uncompromising, heavily structuredabstraction, in accordance withMondrian's view that verticaland horizontal patterns wereinherently harmonious.
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17ISSUE 01
Onl
y
geom
etri
c
sh
apesm
ay
be
used;i
gn
or
en
atur
alf
orm
an
d
col
our
.
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Main compositional elements to be
straight lines or rectangular areas.
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3
Surfacesshouldberectangularpla
nesorprisms.
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No curves, no diagonals, no circles.
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Primary colours only (red, blue, yellow),
plus black, grey and white.
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6
Nosymmetr
y:instead
,strive
for
stron
gasymmetricality.
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Balance is attained by relationships
between geometrical motifs.
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In addition, bold colours should
balance bold direct lines.
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Caf De Unie, JJP Oud
Home
Des
ign
by
Hug
hes
Um
ban
howa
r
Arc
hitects
27ISSUE 01
ARCHITECTURE INSPIRED BY DESTIJL
The Rietveld Schrder House
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The
Bau
haus
Grop
ius
28VvISSUE 01
Carmel by PitsouKedem Architects
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29ISSUE 01
WHO ELSE WAS INSPIRED BY DESTIJL?
BurgoyneDi llerDe Stijl and Neo-Plasticism werelate arrivals to the American art
scene in terms of its developmentas an art movement. Only througha few select gallery and museum
exhibitions were American artistsintroduced to the works of Europeanartists including that of PietMondrian and Theo Van Doesburg.The few drawn to the new plasticway of seeing had alreadyestablished roots in Impressionist
and Post-Impressionist painting.
Burgoyne Diller was the firstnoteworthy American painterto embrace the tenets of Neo-
Plasticism. Diller was alreadyon his way to making an important
contribution to the developmentof non-objective art in the UnitedStates and his works were thefooters in the foundation thatlead to the development of theMinimalism movement of the mid20th century.
Born in New York in 1906, yetraised in Michigan, he began
painting and drawing as ateenager. Periodic trips to the
Art Institute of Chicago provedmonumental in his development he found himself drawn to the
Impressionist paintings and theiruse of color and composition tocreate volume on a two dimensionalsurface. Moving to New York Cityin 1929 and enrolling in the ArtsStudents League exposed him toprogressive working artists work
and the growing popularity ofCubism, German Expressionism andother Avant-garde styles.
As is true with many artists,
Dillers work did not receivegreat recognition until after
his death in 1965. His work isnow considered a fundamentaladdition to the development ofAbstract art and has been thesubject of a number of importantmuseum exhibitions throughoutEurope and the United States.For the contemporary collector;
Diller works are hard to getones hands on with works on
paper (usuallyink and/or
gouache) rangingfrom $5000-$40000. Original
paintings and wallconstructions at$40000and up.
Diller createdno limited editionprints, limiting
the entry levelpurchase to a workon paper usuallyonly available atauction Houses
and fineart galleries.
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I lyaBolotowsky
30VvISSUE 01
Ilya Bolotowsky constantlysearched for order through his
visual expressions. However, unlikethe earlier adapters of the tenetsof Neo-plasticism Bolotowskys
visual language was fueled by thenow popular Suprematist, Cubist,Constructivist, and AbstractExpressionist art movements.Born in St. Petersburg, Russia,he immigrated to America in 1932and attended the National Academy
of Design. He quickly associatedhimself with The Ten WhitneyDissenters, a group of artistswho, unhappy with academy andmuseum structures soon began to
mount their own exhibitions.It was here that he credits his
magnetic draw to Mondrians work.
Bolotowsky was also a foundingmember of American Abstract Artistwhere he met other artists such asBurgoyne Diller. It was Diller whogave him the commission for themural for the Williamsburg Housing
Project which was one of the firstpurely abstract murals createdunder the Federal Art Project.Bolotowskys career was temporarily
put into suspension while he servedhis country, stationed in Alaska.
From 1946-48 he was a teacher atBlack Mountain College where hewas not only influenced by hisfellow teachers, but also by hisstudents.One may suspect by lookingclosely at Bolotowskys late workthat clear, precise control of his
images was of utmost importance.He did however emphasized therole of intuition over formula indetermining his compositions andin many of his interviews states
that the pieces are just as muchan abstract composition as they
are what the viewer saw in them.After all, one mans Neo-plastic
composition in yellow and bluewas another mans reduced aerial
depiction of a farmers pasturedissected by roads and propertylines! Ilya Bolotowskys works are
in multiple important public andprivate collections worldwide.Thankfully, since he was steadilyproducing work through the mid20th century, he created manyvaried serigraphs and prints whichare relatively easy to find from
galleries, resellers, auctionhouses and online.
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31ISSUE 01
Pi erreClerkPierre Clerk was born in Atlanta,Georgia in 1928. He studied fine
arts at McGill University, LoyolaCollege and at the MontrealMuseum of Fine Arts in Montreal,
Canada. He traveled to Europe toseek further instruction at theAcademy Julien in Paris, Franceand the Accademia di Belle Arti inFlorence Italy.
Pierre Clerk first gained
recognition in the UnitedStates and Canada with hislarge sculpture and paintinginstallations the mostrecognizable of these is still
installed outside the Toledo ArtMuseum in Toledo, Ohio. Clerk
was often quoted as having beenstrongly influenced by De Stijl.Well into the 21st century (inhis 80s) he continues to producean astounding array of large-scaleabstract geometric paintings fromhis studio in France. One can seean obvious tie to the fundamental
rules of Neo-plasticism and DeStijl in Clerks work howeverthey beg to call these rulesinto question.
Subsequently, he not only callsthem into question, but disregards
these rules just enough to definehis work as a unique addition.Absent from his work arecompositions adhering to strictprimary color usage. Althoughblack lines and shapes are oftenpresent in his work, rarely are
they horizontal or vertical.Big, bold and commanding hiswork is a perfect combination ofart movements such as De Stijland Minimalism as they presented
themselves and evolved in hislifetime. The Clerk image shown
is from his Africa Suite. As withBolotowsky, Clerk often produceswork that is not just pure
abstraction. Although abstractin nature the work often represents
a theme, a place, an idea that isonly known to Clerk and only slightlyalluded to in a brief title.
Lucky for collectors, Pierre Clerkis still producing work (and largepowerful work at that) to this day.For the beginning collector thereare an array of serigraphs ofexcellent quality available atauction houses, galleries and online.
Be sure to check out these recentpaintings, on exhibit through hisgallery representation at CortexAthletico in France.
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32ISSUE 01
BryceHudsonBryce Hudson is among a small setof contemporary artists presently
working to decipher the boundariesof geometric abstraction as theyrelate to past art movements and
the present day. Hudson, whois biracial, began his careerwith the production of symbolicworks in which he would combinethis geometric abstraction withan underlining tie to race andclass stereotypes in American
society. His black and white colorfrequently represented Black andCaucasian races, yellow and orangerepresented Asian and Latin races.
Hudsons work has alwaysbeen weighted on its compositional
structure he also producesmultimedia prints and altereddigital representations from thegraphic advertisementsand images of the 20th century.In his paintings the reductionistinfluences of De Stijl and thelater Minimalism movement of the
mid 20th century cannotgo unnoticed.
Presently, Hudson has withdrawn
from his original approachto these either tongue-in-cheek representations or direct
reinterpretations from Americancensus surveys and allowed his workto follow a more abstract nature.
Are they purely abstractgeometric compositional worksor are they interiors reduced
to their most basic elements ofshape, light and color? Whicheverthe case they, too, are part ofthe new plastic reality that hiscontemporaries set out to explore
and define a century ago.
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De Stijl has morphed today into a
more modern and ambiguous term called
color-blocking. And while some
creatives like Yves saint Laurent took
direct inspiration from De Stijl, its
no longer only about straight vertical
and horizontal lines, it could be
about zig-zags, concentric circle,
indescribable shapes, and just plain
patches of color.and to boot, the
colors used in modern-day De Stijl ,so
to speak, are no longer primary, they
come in all crayola hues from rich gem
hues to pastels.
HOW HAS DESTIJL CHANGED?
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35ISSUE 01
THE RED AND BLUE CHAIRdesigned by Gerrit Rietveld in 1917
ABSTARCT PAINTINGsignature style by Piet Mondrian
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GUCCI SPRING/SUMMER COLLECTION 2011Runway Presentation in Milan
MONDRIAN INSPIRED DRESS
(YSL 1960S ARCHIVE)The Metropolitan Museum of Art
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37ISSUE 01
STILLETO HEELSby Nina Hjorth
LACQUERED SUSTAINABLE DANISH
PINE WOOD BASELINE PINE EDITION
Armoire by Soren Rose
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VERSACE SPRING/SUMMER 2011Runway Presentation in Milan
THE TRIP TRUMEAU CHEST OF DRAWSby Selab
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MEXICON PLATTER
by DFC Mexico City
AERIAL7 TANK MONDRIAN HEADPHONES,
created by Josh Madden
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MSHELVING DOUBLE BOOKSHELF
SUSHI IV CHAIR
by Fernando & Humberto Campana
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Thesimplicit
ythat
characterizes
DeStijl
thin
kingand
the
order
that
can
betracedin
Dutch
painting
asf
arbackas
the
seventeenthcen
turysuggest
conceptually
provocative
yet
surprisingly
practical
methods
fororganizing
space
and
for
achievingvisually
enga
ging
solutionsin
amultitude
ofindusties.
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