Theo van Doesburg, (1883 – 1931) was a Dutch artist, who practiced painting, writing, poetry and architecture. He is best known as the founder of De Stijl, but also worked as a painter, designer, and writer. Van Doesburg focused on post-impressionist-style paintings until he came across the works of Piet Mondrian, whose major influence on the artist is evident throughout his entire oeuvre in the wake of their introduction.
In 1917, van Doesburg and Mondrian formed the De Stijl group and its corresponding publication. The movement emphasized the simplification of traditional forms seen in anything from architecture to furniture and Fine Art. Highlighting the importance of the line to achieve a geometrically abstract quality, their goal was to unify the world through art, by ridding works of a particular style, hence the name’s literal meaning, the style. Omitting representational forms by democratizing shape, space, and color, their art could now be seen as harmonious, giving each individual element its own identity. The De Stijl journal was released in correspondence with the movement, and van Doesburg saw great success as an art writer both for the magazine and independently. He even created a typeface, Architype Van Doesburg, which was associated with the movement.
Van Doesburg also collaborated with architects throughout his career, showing a profound interest in stained glass, floor tiles, and thematic coloring for buildings. However, in 1920, he became increasingly more involved in the promotion of the De Stijl movement, and spent less time creating, choosing to travel instead. With help from artist Kurt Schwitters, van Doesburg was introduced to the Dada movement in Germany.
The artist returned to painting in 1924, this time adding diagonals to his compositions. This angered Mondrian, who believed that the addition of these lines diminished the purity associated with their ideals; and thus he chose to reject the movement and renounce their friendship. Despite their rift, De Stijl had a profound effect on the development of Modern design. This is notable particularly in the Bauhaus movement, evident in the austere yet universal qualities of later Bauhaus designs.
Van Doesburg work is now in prestigious institutions worldwide, including the Solomon R. Guggenheim Museum and The Museum of Modern Art in New York.
In 1917, van Doesburg and Mondrian formed the De Stijl group and its corresponding publication. The movement emphasized the simplification of traditional forms seen in anything from architecture to furniture and Fine Art. Highlighting the importance of the line to achieve a geometrically abstract quality, their goal was to unify the world through art, by ridding works of a particular style, hence the name’s literal meaning, the style. Omitting representational forms by democratizing shape, space, and color, their art could now be seen as harmonious, giving each individual element its own identity. The De Stijl journal was released in correspondence with the movement, and van Doesburg saw great success as an art writer both for the magazine and independently. He even created a typeface, Architype Van Doesburg, which was associated with the movement.
Van Doesburg also collaborated with architects throughout his career, showing a profound interest in stained glass, floor tiles, and thematic coloring for buildings. However, in 1920, he became increasingly more involved in the promotion of the De Stijl movement, and spent less time creating, choosing to travel instead. With help from artist Kurt Schwitters, van Doesburg was introduced to the Dada movement in Germany.
The artist returned to painting in 1924, this time adding diagonals to his compositions. This angered Mondrian, who believed that the addition of these lines diminished the purity associated with their ideals; and thus he chose to reject the movement and renounce their friendship. Despite their rift, De Stijl had a profound effect on the development of Modern design. This is notable particularly in the Bauhaus movement, evident in the austere yet universal qualities of later Bauhaus designs.
Van Doesburg work is now in prestigious institutions worldwide, including the Solomon R. Guggenheim Museum and The Museum of Modern Art in New York.
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| Theo van Doesburg |
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| Dancers |
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| Composition (Female Head), |
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| Composition (The Cow) |
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| Pure painting |
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| Counter-Construction, Axonometric, Maison Particulière |
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| Arithmetische Compositie |
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| Contra-Composition of Dissonances, XVI |
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| Design for poster and The Little Review |
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| Arithmetic composition |
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| Cover of Art Concret |
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| Composicion II naturaleza muerta |
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| Composition with Four Black Squares and Four White Squares |
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| audiokids |
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| Composition IX |
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| Counter Composition VIII |
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| Cover of the launch issue of Art Concret |
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| Dance I |
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| Architecture and interiors, the Municipal Museum of the Hague House blueprint |
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| Detail of Simultaneous |
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| Stained glass window composition |
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| Kleine Dada Soiree |
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| La Matiere Denaturisee Destruction |
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| Metalocus cafeaubette |
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| Metalocus cafeaubette |
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| Simultaneous counter composition |
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| staircase |
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| Still life |
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| Study for Counter Composition |
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| design interior dance hall L Aubette, Strassbourg |
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| Study for Arithmetic composition |
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| Aubette restored dance hall. Strasbourg |
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| Color design for the ceiling of the Cafe Brasserie |
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| Counter Composition 5 |
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| The construction of Space Time III |
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