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De Stijl (/ d ə ˈ s t aɪ l /, Dutch: [də ˈstɛil]; 'The Style') was a Dutch art movement founded in 1917 by a group of artists and architects based in Leiden (Theo van Doesburg, J.J.P. Oud), Voorburg (Vilmos Huszár, Jan Wils) and Laren (Piet Mondrian, Bart van der Leck).
At the end of February 1931 he was forced to move to Davos in Switzerland because of his declining health. Van Doesburg did not recuperate: on 7 March 1931, he died of a heart attack. After his death Nelly van Doesburg released the last issue of De Stijl in January 1932, as a memorial issue, with contributions by old and new members from De Stijl.
He did not teach a specific style to his students, rather he taught a philosophy of style that dictated "the solution to the design problem should emerge from its content." [ 15 ] This idea of the solution to the design emerging from the problem itself was a reaction to previous artistic processes focused on "beauty for the sake of beauty" or ...
After World War I, De Stijl (the style) was led by Theo van Doesburg and Piet Mondrian and promoted a pure art, consisting only of vertical and horizontal lines, and the use of primary colours. The Design Academy was established in 1947.
From 1917 he was an influential member of the De Stijl movement. Although he was born to a comfortable middle-class background, married a wealthy heiress, and for a while was able to subsidise the publication of the De Stijl journal, [1] van 't Hoff was a member of the Communist Party of the Netherlands in the years following World War I.
In his book "De Stijl", Paul Overy reflects on the confusing terminology for English readers: [24] The terms beeldend and nieuwe beelding have caused more problems of interpretation than any others in the writing of Mondrian and other De Stijl contributors who adopted them. These Dutch terms are really untranslatable, containing more nuances ...
The "International Style", as defined by Hitchcock and Johnson, had developed in 1920s Western Europe, shaped by the activities of the Dutch De Stijl movement, Le Corbusier, and the Deutscher Werkbund and the Bauhaus. Le Corbusier had embraced Taylorist and Fordist strategies adopted from American industrial models in order to reorganize society.
The development of the Swiss style is associated with the formation of new principles in graphic design and is correlated with a number of prototypes, in particular, such as De Stijl, Russian constructivism, the Bauhaus school, International Typographic Style, etc. [11] Ernst Keller had a fundamental influence on the development of the Swiss ...