The Great History of
FOUNDED
1917 IN Theo Van Doesburgh
PREFACE First of all, the writer wants to express his thanks to Allah SWT, because of His bless and grace, the entitled ”The Great History of De Stijl” can be finished on time. This paper is a requirement to fulfill the assignment from Mr. Junaidi Salam and Mrs Fatimah Yasmin, the Typography I Lecturer of Mercu Buana University. . This Book is about an art movement that focuses on geometrical lines, primary colors as well as black and white, named De Stijl. I get the inspiration to make this book because i personally used a lot of geometrical shapes in my artworks, and this style is one of favourite styles. Although it might seem simpe and abstract, but there's this essence of pure aesthetic in the artworks and architecture.
Rayhan Rusyda
CONTENTS 5
Forwards
6
The Beginning
10
Key Player
20
Utopian Life
28
Politics
34
Influencers
42
Artifacts
54
The End of The Stijl
60
Analysis
64
Artwork
Foreword. This is a book assignment by Rayhan Rusyda, a design student from Mercu Buana University with the aim of illuminating a part of the great history of Art and Design.. The short lived movement that will be the subject of this book may have been small but it has had a large and lasting effect. on the development of both modern design and archetecture. This volume will give an explanation of who the key players in the De Stijl group were, what drove them and what impact their lives, thoughts and works have had on the world we live in today.
The Beginning.
De Stijl, Dutch for the style, was originally founded as a magazine by Theo van Doesberg in Leiden, in the Netherlands on June 16, 1917. This magazine was mainly used as a means to document and publish the works of the artists involved. De Stijl's expression later became the name of the art movement. De Stijl's main contributors were artists van Doesberg and Piet Mondrian, and architects J.J.P. Oud and Gerrit Reitveld, who then went on to design and create the Schroder House inspired by De Stijl, a sturdy building made of flat layouts, moveable plans, and primary colors. This movement later attracted the attention of artists, designers and architects including Jean Arp Corenlius van Eesteren, Vilmos Huszar, Bart van der Leck, El Lissitzky, Sophie Taeuber-Arp, Georges vantongerloo, Freidrich Vordemberge-Gilderwar, Jan Willis and Piet Zwart.
Van Doesberg and Modnrian are their artistic careers who learn more towards cubism, the date of the art movement between 1908 and 1914 which depicted natural forms as structures and geometric plans. However, both of them found that it did not fit into these ideas. For them, being more abstract is seen as verifying art, exchanging subjects and shapes for horizontal and vertical elements, mainly using primary colors as well as black, gray and white. They exchange all comprehensive subject traces for complete and total abstraction. They want to create utopia with an imaginary speed that they think is effective, and they feel this is a way that often expresses themselves abstractly. De Stijl artists see their work as a language outside of culture, geography and politics, which makes it feel disparaged and anonymous. They feel that artists must take a back seat in their work, allowing viewers to make their own different opinions about the style they are making.
Key Player.
Theo Van Doesburg. Theo van Doesburg, or Christian Emil Marie Upper as he was originally known, was born in Utrecht on 30th August 1883 as the son of photographer Wilhelm Upper and Henrietta Catherina Margadant. Although van Doesburg intended to pursue a career in theatre, by around 1900 he turned his interest to painting. His earlier work was in line with the Amsterdam impressionists and was massively influenced by Vincent van Gogh, both in style and matter. In 1913, after reading Wassily Kandinsky's Riickblicke, he realised there was a higher, more spiritual level in painting that originates from the mind, not just everyday life, and that abstraction is the only logical outcome of this. In 1915, (half way through his two-year service in the army), van Doesburg came in contact with Piet Mondrian whilst reviewing an exposition for a magazine he wrote for. Mondrian had already gained attention with his paintings, which involved the complete abstraction of reality. Van Doesburg saw his ideal style of painting in Mondrianis work. Soon after the exposition, van Doesburg got in contact with Mondrian and founded the magazine, names De Stijl in 1917 along with Bart van der Leck, Anthony Kok and J.J.P Oud.
Rietveld Dutch furniture designer and architect, Gerrit Thomas Rietveld was born on 24th June 1888 in Utrecht where he lived and worked for all of his life. Rietveld started working for his father, who taught him how to make his first cabinet. By 1911, he had left the family workshop and trained as an architectural draughtsman, before finally becoming an architect in 1919. During this time Rietveldis famous Red & Blue chair was designed. Nothing like this had been seen or existed before, it marked the transition between the organic Art Noveau style, and the crisp Art Deco. The structure and colour of the chair is a reminder of paintings by Mondrian. Rietveld joined the De Stijl collective around the same time the chair was created. It sums up the radical principles of the influential art movement with its simple forms and primary colours. In 1924 he designed his first building the Rietveld-Schroder House in close collaboration with the owner Truus Schroder-Schrader. The house was said to be a three dimensional realization of a Mondrianis paintings and the De Stijl aesthetic. The ground floor was a conventional design, but
Mondrian. Mondrian was named Pieter Cornelis Mondriaan Jr at birth on 7th March 1872 in Amersfoort. He studied at the Rijksakademie van Beeldende Kunsten (Amsterdam Academy of Fine Arts), from 1892 to 1897. Mondrian's work was naturalistic which incorporated successive influences of academic landscape and still-life painting. By 1911, he began to work with a Cubist style after seeing original Cubist works by Georges Braque and Pablo Picasso. Mondrian. He decided to move to Paris in 1912, where he changed his name to Mondrian, from Mondriaan, which emphasized his departure from an artistic life in Holland by dropping the 'a. While in Paris, the influence of Cubism and its artists made Mondrian develop an independent abstract style. Mondrian was visiting the Netherlands when the First World War broke out, which prevented his return to Paris. During these years in Holland, his work showed a complete reduction in the use of certain colours and geometric shapes to formulated his own non-objective Neoplastic style. Then in 1917, after meeting van Doesburg, he became one of the founders of De Stijl, where he fully embraced the principles of pure abstraction and simplification. Many of Mondrian's essays on abstract art were published in the periodical De Stijl magazine. Then by July 1919, he had returned to Paris. He later exhibited his work in 1923. Although the friendship between Mondrian and van Doesburg was strong through the years, letters were the only form of communication. When coming in contact with each other in Paris, they started noticing their differences in character.
Oud Jacobus Johannes Pieter Oud also called J.J.P. Oud, was a Dutch architect. Oud was born in Purmerend, the son of a tobacco and wine merchant. He studied under Theodor Fischer in Munich. Also he worked together with W.M. Dudok in Leiden. Between 1906 and 1916, Oud's early buildings were a nearly total dependence on the work of Berlage. In 1916, Oud met van Doesburg in Leiden, and then joined De Stijl with other artists, such as Piet Mondrian. From 1916 to 1917, Oud collaborated with van Doesburg on the design of two houses: a vacation house 'De Vonk' at Noordwijkerhout, and 'Villa Allegonda' at Katwijk. Oud had given three-dimensional form to the principles of De Stijl, also he was made chief architect of Rotterdam in 1918. In 1920, Oud broke contact with van Doesburg, and then left De Stijl, because he disagreed with van Doesburg. He disagreed with the way in which van Doesburg thought De Stijl was unique. Oud thought it was impossible to reconcile the uniqueness of the new style with the exigencies of mass housing. After Oud left De Stijl, his works were highly personal, but still based on De Stijl. In 1925, Oud built the Cafe de Unie façade in Rotterdam. The design is a perfect example of the Dutch artistic moment, De Stijl, with its use of primary colours and simple abstract composition of vertical and horizontal directions. Moreover, the style of his work was a domestic style. After the First World War, Oud designed the Dutch National War Monument in Amsterdam and the monument on De Grebbeberg. Even though Oud left De Stijl early, his fame began as a follower of the De Stijl movement.Towards the end of Ouds life, his works became far more personal. In April 5 1963 at the age of 73 Oud died in Wassenaar, Holland.
Utopian Life.
Mondrain, together with van Doesburg were one of the first to formulate the idea of De Stijl's artistic theory, known as nieuwe beelding, or `new forming'. They developed this idea under two main influences. Theosophy; the philosophy of the mathematician and Theosophist Dr. M.H.J. Schoenmaekers; and Neo-plasticism; the belief that art should not be the reproduction of real objects, but the expression of the absolutes of life. To the artist's way of thinking, the only absolutes of life were vertical and horizontal lines, the primary colours, red yellow and blue, and the three 'non-colours, black, grey and white. (Flint, L) . The Neo-plastcism movement happened in the 1910's. In 1915, Shoenmaekers published The New Images of the World' and, in 1916, 'Principles of Plastic Mathematics. These writings depicted that the essence of reality can be expressed as a series of opposing forces and emphasized the polarity of horizontal and vertical elements, and the importance of primary colours. The main elements of Neo-plasticism were: Surfaces must be rectangular planes or prisms. Aesthetic balance must be achieved and this is done through the use of opposition. Compositional elements must be straight lines or rectangular areas. Symmetry is to be avoided. Balance and rhythm are enhanced by relationships of proportion and location (Watkins, T) Mondrian was influenced greatly by these concepts, and as indeed was De Stijl as a whole, and he expressed them throughout his work.
expressed these concepts throughout his life; for example, whilst in Laren, Holland, Mondrian was a regular guest of the local dance hall. During these times he surmised the idea of a purely neoplastic expression through music. Not surprisingly the music was to be made up of 3 tones and 3 non-tones in analogy with the three primary colours and the three non-colours. The musical "rests" to be eliminated and the sounds to be produced by as yet undeveloped mechanical or electrical instruments. Mondrian's take on contemporary lifestyle was that the arts, including music, poetry and painting, should be free from the oppression of everyday irrelevancies, which prevented man from pursuing his true purpose: to seek truth and to find harmony (Welsh. R.P, 1982) Mondrian's thinking was obviously ahead of his time, and indeed many De Stijl sensibility was not appreciated until much after this short movement ended. Van Doesburg also believed in creating a lifestyle of perfect harmony, and that the ideals of De Stijl would play a tangible role in modern construction of the external world in the future. In painting, van Doesburg believed the overall effect should be one of openness and weightlessness using planes and lines that appeared to hover in space, for example, in his 'stained-glass window' 1921.
-of painting in 1924 — 25 called `Elementarism: This was conceived as a radical correction of the neoplastic ideas because it allowed the use of diagonal elements. This completely abandoned Mondrians insistence on the use of strictly orthogonal relationships. However, van Doesburg strongly believed that in order to create paintings that possessed a greater dynamism, it was essential to allow diagonals. This was the key trigger for Mondrian to fall out with van Doesburg. Apart from the fact that Mondrian had experimented with both the orthogonal and diagonal in his pre and early De Stijl production, until 1926 nowhere in the pages of De Stijl, least of all in van Doesburg's contributions, is any systematic evaluation of this issue of the diagonal versus the right angle relationship to be found (Welsh. R.P, 1982). So, in 1926, in "Painting: From Composition to Counterposition" van Doesburg explains, for the first time, in writing, how the diagonal is a dynamic principle of modern life. He stated that in art, the diagonal principle represented final victory over static nature as presented by the horizontal-vertical polarity, and later further discussed that the term "elementarism" was the exploitation of the fourth dimension — the element of time. (Welsh. R.P, 1982).
Politics.
The First World War started with the German invasion of Belgium on 4 August 1914. In the months immediately following, refugees who came from Belgium, Germany and France, flooded The Netherlands. The Netherlands was neutral in the First World War, Dutch artists were not able to leave the country after 1914 and were effectively isolated from the international art world. During that period, Dutch artists and intellectuals began to look inward and re-examine their own culture and re-define the role of their small country in the future of modern Europe. Doesburg astutely took advantage of this situation; he started to up a journal for like-minded artist and creative people, and was able to organise and promote De Stijl as the Dutch contribution to modernism. This was an attempt to construct a new modernizing national style in a country isolated by its own neutrality caught between two warring nations. Mondrian caught in Holland by the war between 1914 and 1919, teamed up with van Doesburg and van der Leck. Mondrian was hesitant at first, because he expected that the conflict would quickly end and he would return to Paris, but eventually he embraced De Stijl and constructed strict rules that he adhered to when painting. In general, he proposed ultimate simplicity and abstraction, both in architecture and painting, by using only straight horizontal and vertical lines and rectangular forms. Furthermore, their formal vocabulary was limited to the primary colours red, yellow and blue and the three primary values black, white and grey. The works avoided symmetry and attained aesthetic balance by the use of opposition.
De Stijl was a utopian vision that had been born into a Europe devastated by war. Proponents of De Stijl sought to express a new utopian ideal of spiritual harmony and order. They advocated pure abstraction by a reduction to the essentials of form and colour. These minimalistic philosophies and a hope for a new utopia mirror the same hopes of the revolutionaries in Russia in the same period. In 1919 painter Chris Beekman received a letter from Jan Wills discussing the idea of contacting the communist party: "I am firstly convinced that communism is also bound to enter our country very soon. I should immediately add that I am a communist through and through... fervently and eternally... we should contact communist leaders within this country and abroad without delay." (Wils. 3, 1919) Although there are many parallels between communism and De Stijl, it was never a communist movement, mainly because it was not really an art movement, more of a loose collaboration of artists and archetects held together by van Doesburg. However, there were a few advocates of communism, van Doesburg revels his communist ideals in a letter to Chris Beekman in 1919: "Although we differ individually, we all live for the same cause. We should concentrate solely on that." (van Doesburg. T, 1919)
Influences.
A major influence on De Stijl can be found in the form of cubism, the avant-garde movement started in France by Pablo Picasso (1881-1973) and Gorges Braque (1882-1963) in 1906. Both Piet Mondrian and Theo van Doesburg experimented with cubist approaches to painting in the time shortly before the formation of De Stijl. It can be argued that De Stijl was a logical step following cubism, a movement which deals with the abstraction of form into blocky, disjointed shapes while keeping the original image readable. De Stijl takes abstraction further, removing natural form all together to create perfect clean abstract compositions. The Futurist movement, which had been started just eight years before De Stijl in 1909 by Filippo Tommaso Marinetti (1876-1944), had similar ideas about the abandonment of natural form and decoration and was undoubtedly an influence. In van Doesburg's essay "The New Movement in Painting" (1916) he wrote "Without this expression the art history of our time would be incomplete futurism is the plastically formulated, urgent demand to revise completely the principles of traditional art."
Another apparent influence is that of the famous architecture of Frank Lloyd Wright (1867-1959) which had recently been published in Europe as the Wasmuth Portfolio (1910-1911) and was introduced to the De Stijl artists by one of the founding members, the architect and furniture designer Robert van't Hoff. He was a great fan of Wright's work and had visited several of his houses. However, Wrights personal ideas were somewhat of a contradiction to those of the De Stijl group. While many of his designs were blocky and functional he was an advocate of organic architecture, such close ties between the works and nature do not sit with theDe Stijl school of thought. Hendrik Berlage (1856-1934), one of Holland's principal architects in the late 19th and early 20th century, was responsible for buildings such as the Amsterdam Stock Exchange (1903) and the Municipal.
During the fifteen-year lifetime of the De Stijl group the participants gained little acclaim and the group and its cause was not well known, however the existence of De Stijl has been hugely influential long after its own demise. One of the most notable things to draw inspiration from the forms and colours of De Stijl was the famous German design school, the Bauhaus (1919-1933). Bauhaus principle was that of leaving behind history, as De Stijl left behind nature. They believed that studying what came before would give the students preconceptions of how things should be and that only by looking at problems from the most original viewpoints could new and better solutions be created. This marries well utopia. De Stijl's ideas of a new Bauhaus design also bore similarity to De Stijl in its tendency towards geometric shapes and a limited colour pallet. As well as the Bauhaus, De Stijl also had a profound influence on individual artists. The Dutch typographer, photographer and Industrial designer, Piet Zwart (1885-1977) started his career as an architect, working for Jan Wits (1891-1972) and Hendrik Berlage. As a designer, Zwart was renowned for his work for both the Nederlandse Kabelfabriek Delft, (the Dutch Cable Factory in Delft) and the Dutch Postal Telegraph and Telephone. Zwart followed the basic De Stijl principles, as well as developing his own typographic technique and his work can be recognised by its primary colours, geometric shapes and an early use of photo montage. Zwart profiled himself as the first Industrial
Fig 8. The White Stripes Album cover "De Stijl" (2000)
designer in the Netherlands, although he referred to himself as a form engineer or form technician rather than a designer. Zwart owes his reputation to his design for the Bruynzeel kitchen in 1938 and his progressive graphic designs for companies like PTT. De Stijl is also consistently tributed and referenced in modern works as well, the style is one that can be easily adapted and applied too a multitude of different artefacts. One example is that of an early album cover for The White Stripes, a rock band formed in 1997 in America. The cover of the album titled "De Stijl" featured the two band members surrounded by rectangles of red, white and black. The cover draws obvious inspiration from the 20th century movement, the rectangles forming an abstract composition. However the inclusion of the two band members, organic forms, is somewhat atypical of original De Stijl work. De Stijl also had great influence on architectural development. While teaching at the Bauhaus Theo van Doesburg was able to impart his ideas on Neo-Plasticism on the people there, affecting some of the most influential European architects of the age such as Mies Van der Rohe and Walter Groupius. While the Rietveld-Schroder house was the only truly De Stijl structure to be constructed (excluding the Cafe De Unie facade) the legacy of such ideals; the blocky nature, the emphasis on space and function as well as the large structural windows can be seen in a myriad of 'modern' architecture.
Artifacts.
The De Stijl movement produced many artifacts throughout the years it was prominent. Those that are perhaps the most well known have been produced by the key players of the movement: Gerrit Rietveld and J.J.P. Oud, the two architects and Theo van Doesburg and Piet Mondrian. Rietveld's most successful was the Schrader House in Utrecht, built in 1924 it is the only true example of De Stijl architecture. Designed with the help of Mrs Truus Schroder-Schrader this house was built with the intention of being the ideal home. There was a criteria made by Mrs Truus Schroder- Schrader which stated that each bed in a bedroom must be able to fit in two different positions, also that each room should have direct water supply, drainage and access to the outside. These requirements were all met and it was Rietveld's attention to detail that made the house so successful. The house has two floors and the upstairs is perhaps one of the main attractions as it was designed so that the size of the room could be altered. It is essentially a loft with portable partitions which run on tracks, this design is similar to the traditional Japanese houses and offers a unique way of living. Rietveld also designed a window to be situated in the corner of the house so when opened up it would give the impression of there being no walls.
-house he was turned down as Mrs Schroder and Rietveld did not want to involve a De Stijl artist for choosing the colours. Instead as stated by Overy (1991) he wanted to use colour 'less as a painter and more in direct connection with the simultaneous creation of colour and architecture'. Gerrit Rietveld furnished the house with his early furniture designs, most of which represented what a 3D De Stijl work of art ought to look like. One of which was the red blue chair, designed in 1917 it was first illustrated in De Stijl in 1919. Rietveld studied the interaction of vertical and horizontal planes in order to produce this design, this is also evident seen within his architectural work.
-to one another. J.J.P. Oud designed buildings for social housing, therefore having a very different appearance and purpose to some of Rietveld's work. In 1918 Oud was offered a job with the Rotterdam Housing Authority where he designed low rent accommodation for the working class. These included the Tussendijken and Spagen blocks which never appeared in De Stijl perhaps because they did not seem to resemble the De Stijl style like the Schroder House did. The artists of the movement, two of which being Mondrian and van Doesburg painted in an abstract manner. They used geometric shapes to produce compositions as seen in van Doesburg's 'Rhythms of a Russian dance 1918. This piece seems to have a lot of movement in it, the viewer can really feel the rhythm of the dance. This has been created by the placement of the rectangles and the plank white space formed. The fact that van Doesburg has placed these rectangles all at right angles to each other,
either vertical or horizontal helps the viewer's eye flow down through the page. Looking at Mondrian's early work compared to his latest paintings, the difference in style is incredibly different. His first paintings had a hint of abstraction interpreted into them but they mainly conveyed nature and real life images. Mondrian later became influenced by Cubism and from there his paintings developed a regular framework which were far more radical than any other piece he had produced. His painting `Composition 2' (1922), shows the grid use clearly. Here he has experimented with using a large white space in the middle and framing it with black lines. The three rectangles of colour help the viewers eye move around the piece in a clockwise manner. Although this painting is fairly minimal it seems evident that Mondrian was referring to the rhythm of the forms thus creating a different moods. Possibly one of Mondrian's most known piece of work is 'Victory Boogie-Woogi, 1934/44' this is because this was his last painting he did before dying in 1944. It was also never finished therefore making it even more important. The title seemed to be named in hope of a victory for the Second World War, the-
-bright colours suggesting joy and optimism. This painting is much more dynamic than 'Composition 2', the density and use of colour is a lot more extravagant. It seems to convey an unusual sense of movement. The lines and planes of the painting are barely evident unlike in 'Composition 2' where they are extremely clear. Due to this confusion with the lines and chaotic colour arrangement the painting seems to have movement or a slight flickering affect on the viewer's eyes. These examples of De Stijl are just a small selection. When looking into the different areas that were affected by the movement one can see the differences and similarities between each piece of art.
The end of The Stijl.
On 7th March 1931 Theo van Doesburg died of a heart attack. After he died, the magazine `De Stijl' stopped publication and the movement was disbanded; there were several reasons for this. The most important reason being that none of the members could lead the group after van Doesburg had passed away, this was because he was not only the founder of De Stijl, but also the `ambassador' of the movement. Although his works were not as popular as Mondrian's, he was the movement's primary spokesman, and helped to promote it across Europe. The second reason is that the members in De Stijl could not meet frequently, because they lived in different countries. After van Doesburg's death, despite the fact that individual members still kept in touch, they only met briefly and most communication took place by letter. For example, Rietveld and Mondrian had never met at all. However, De Stijl could not have continued without a strong central leader. Furthermore, many artists and architects' work, such as van der Leck and J.J.P.Oud, did not fundamentally change De Stijl, but they disagreed on the style of other members, which led to them leaving the De Stijl movement fairly early in their careers. When van Doesburg was still alive, they respected him even when they had a disagreement or argument with him, or when they were opposed. This is clear from their tribute to him in the final memorable issue of the De Stijl magazine.
Moreover, Mondrian broke away from De Stijl for a short time in 1923 because he could not accept diagonals, whereas van Doesburg insisted on the diagonals dynamic aspects, and indeed featured it in his art. In the later development of De Stijl, van Doesburg recruited some artists whose work had little in common with the earlier phase of De Stijl. Therefore, the original De Stijl had changed into van Doesburg's own style, in a sense that only van Doesburg himself and the magazine he edited were 'De Stijl'. De Stijl was only the work of those artists and architects whose work had shown the principles of De Stijl. However, these principles were not static; it was a style that had been developed over a short period of time. This is another reason why De Stijl movement stopped when van Doesburg past away. Also, van Doesburg had written in the fist issue of the De Stijl magazine in 1917, "For the propagation of the beautiful, a spiritual group is more necessary than a social one." This sentence shows that van Doesburg preferred a loose association of individualists, rather than a social group. Even though the De Stijl movement died with him, the style has remained and can still be seen to this day in the form of some types of modern architecture
Analysis.
Comparison and Feedback
De Stijl in graphic design has evolved along these years, starting from the publication of De Stijl Magazine, which represents the most significant work of graphic design from the movement. But the true major influences on the development of graphic design were the ideas of reduction of form and color. The early graphic design that is influenced by De Stijl not only includes the basic elements of the movement's value which are white background, black lines, and primary colors — but also influenced by the Russian typography which used geometrical shapes. As times flies by, De Stijl movements finally have established the originality of their specialty and have evolved for the modern needs. Not using all of the elements of De Stijl at the same time, but using several elements of it and making it so much more modern and appeal modern society. De Stijl can influ-ence in so many ways, without simply using the usual pattern, which you expected to see, but the colors and the simplicity itself could help the product to appeal the consumer. (Thomson, J 2016, pers. comm., May 3).
Self Analysis
De Stijl has become one of the most influential art movements or style for the past few decades, and definitely has become one of the style that actually still happening in our daily lives. In the perspective of a Graphic Design view, it is one of the simplest yet full of power to attract people or consumer or client. This style has a modern look that won't be able to be forgotten for many years to come. Because De Stijl is a simple design style that can be so bold, and very interesting
Artwork.
This is an artwork that i made by applying De stijl methods.
NeoStijl
TM
Reference.
Meggs, Philip B. 1998, Meggs' History of Graphic Design , 4th edn, John Wiley & Sons, Inc., New Jersey "Piet Mondrian", Wikipedia, wiki article, April 25 2016, <https://en.wikipedia.org/wiki/Piet_Mondrian> "Robert van 't Hoff', Wikipedia, wiki article, <https://en.wikipedia.org/wiki/Robert_van_%27t_Hoff> "Theo van Doesburg", Wikipedia, wiki article, April 4 2016, accessed April 27 2016 <https://en.wikipedia.org/wiki/Theo_van_Doesburg> Warncke, Carsten-Peter, 1994, De Stijl, Taschen, Germany. Zonaga, Anthony 2012, De Stijl — Abstraction in Architecture, College and Architecture, accessed April 27 2016 <http://collageandarchitecture.com/wp-content/up loads/2012/02/barr_destijl.pdf> Counter Composition XIV: Theo van Doesburg 1925, Counter Composition XIV, WI kiai t, <http://wikiartorg/en/theo-van-doesburg/counter-composi tion-xiv-1925 > First De Stijl: First Cover °foe Stijl Magazine 1917, digital photograph, http://www.gardenvisitcom/history_theory/library_online_eb ooks/tom_turner_english_garden_design/abstract_style_of garden_design Futurism Artwork: Umberto Boaioni1913, Unique Forms of Continuity in Space, Wikipedia,
<https://enswikipedia.org/wiki/Futurism> George Braque's Artwork: Bottle and Fishes 1910, digital photograph, <http://www.tate.org.uk/learn/online-resources/glossary/dcub ism> Modern De Stijl Architecture: Lagoon Beach House 2012, digital photograph, <https://designalog.wordpress.com/2012/05/11/residential-ar chitecture-lagoon-beach-house-by-birrelli-architects> Modern de Stijl: October 2011, digital photograph, <http://jamesmann1993.wordpress.com/2011/10> Mondrian's Artwork: Victory Boogie Woogie 1944, digital photograph, < https://en.wikipedia.org/wiki/Victory_Boogie-Woogie> Met Mondrian: Piet Mondrian , digital photograph, < http://www.arte.it/artista/pieter-corn ells-mondriaan-detto-pi et-mondrian-177 > Rietveld House: Rietveld, Schrader House 1924, digital photograph, < h t t p : / / w w w. h i s t o r i a s z t u k i . c o m . p l / k o d o w a ne/003-02-01-ARCH WSP-MODERNIZM-eng,php> Theo van Doesburg: Theo van Doesburg in Davos 1931, digital photograph, < http://commons.wikimedia.org/wiki/Theo_van_Doesburg > Van it Hoff's Artwork: Villa Heaney 1916, digital photograph, < http://en.naiml/collection/view_the_collectionntem/_rp_ko lom2-1_elementld/1_669536>
This volume will give an explanation of who the key players in the De Stijl group were, what dorve them and what impact ther lives, thoughts and works have had on the world we live in today.
