Which of the Following Artists Developed the Theory of Neoplasticism or the New Pure Plastic Art?
Beginnings of De Stijl
In 1917, Theo van Doesburg founded the contemporary fine art journal De Stijl every bit a ways of recruiting like-minded artists in the formation of a new artistic collective that embraced an expansive notion of art, infused by utopian ethics of spiritual harmony. The journal provided the footing of the De Stijl movement, a Dutch grouping of artists and architects whose other leading members included Piet Mondrian, J. J. P. Oud and Vilmos Huszar.
Adopting the visual elements of Cubism and Suprematism, the anti-sentimentalism of Dada, and the Neo-Platonic mathematical theory of K. H. J Schoenmaekers, a mystical ideology that articulated the concept of "ideal" geometric forms, the exponents of De Stijl aspired to be far more than mere visual artists. At its cadre, De Stijl was designed to encompass a diverseness of artistic influences and media, its goal existence the development of a new aesthetic that would be practiced not but in the fine and applied arts, but would also reverberate in a host of other art forms too, among them architecture, urban planning, industrial design, typography, music, and verse. The De Stijl aesthetic and vision was formulated in big response to the unprecedented devastation of World War I, with the movement's members seeking a ways of expressing a sense of order and harmony in the new society that was to sally in the wake of the state of war.
De Stijl: Concepts, Styles, and Trends
Pure Geometric Brainchild and De Stijl Visual Language
De Stijl was the first-always journal devoted to abstraction in fine art, although the movement's artists were not the first to practice abstract art; other painters, perhaps most notably Wassily Kandinsky, Kazimir Malevich and Hans Arp, had before created nonobjective fine art, often incorporating geometric forms in their piece of work. But the artists and architects associated with De Stijl - painters such as Mondrian, van Doesburg and Ilya Bolotowsky, and architects such equally Gerrit Rietveld and J. J. P. Oud - adopted what they perceived to exist a purer grade of geometry, consisting of forms fabricated upwards of straight lines and bones geometric shapes (largely rendered in the 3 primary colors); these motifs provided the fundamental elements of compositions that avoided symmetry and strove for a balanced human relationship between surfaces and the distribution of colors. In Neo-Plasticism in Pictorial Art, Mondrian explained: "As a pure representation of the human mind, art will express itself in an aesthetically purified, that is to say, abstract form. The new plastic idea cannot, therefore, have the course of a natural or concrete representation."
Neo-Plasticism
Neo-Plasticism refers to the painting style and ideas developed by Piet Mondrian in 1917, promoted by De Stijl. Denoting the "new plastic fine art," or just "new art," the term embodies Mondrian's vision of an ideal, abstract art class he felt was suited to the modern era. Mondrian's essay Neo-Plasticism in Pictorial Art, which gear up forth the principles of the concept, was published in twelve installments of the journal De Stijl in 1917-xviii. Mondrian described Neo-Plasticism as a reductive approach to artmaking that stripped abroad traditional elements of art, such as perspective and representation, utilizing only a serial of primary colors and straight lines. Mondrian envisioned that the principles of Neo-Plasticism would be transplanted from the medium of painting to other art forms, including architecture and blueprint, providing the basis of the transformation of the homo environment sought past De Stijl artists. In Mondrian'southward words, a "pure plastic vision should build a new society, in the same manner that in art it has built a new plasticism."
The concept of Neo-Plasticism was largely inspired by M. H. J. Schoenmaekers's treatise Beginselen der Beeldende Wiskunde (The Principles of Plastic Mathematics), which proposed that reality is composed of a serial of opposing forces - among them the formal polarity of horizontal and vertical axes and the juxtaposition of chief colors.
Neo-Plasticism was afterward promoted by the movement Cercle et Carre and three bug of its eponymous periodical appearing in 1930. Post-obit Mondrian'due south visit to the U.Southward. in 1940, the style spread to the U.South., where it was taken up by diverse American abstruse artists.
Neo-Plasticism Movement Page
Elementarism
While simply horizontal and vertical lines were to be utilized in Neo-Plasticism, in 1925, van Doesburg developed Elementarism, which attempted to modify the dogmatic nature of the manner by introducing the diagonal, a form that for him connoted dynamism - "a state of continuous development." In "Painting and Sculpture: Elementarism (Fragment of a Manifesto)," published in De Stijl in 1927, he wrote: "If all our concrete movements are already based upon Horizontal and Vertical, it is but an emphasis of our physical nature, of the natural structure and functions of organisms if the work of art strengthens - although in an 'artistic way' - this natural duality in our consciousness."
Prizing horizontal and vertical lines for their connotation of stability, Mondrian strongly disagreed with van Doesburg'southward newfound emphasis on the diagonal--a disagreement that famously prompted Mondrian to secede from De Stijl shortly thereafter. For Mondrian, van Doesburg'due south introduction of the diagonal amounted to creative heresy; in Mondrian'due south view, the Elementarist diagonal repudiated De Stijl'southward efforts to fully integrate all the elements of the painting by creating tension betwixt the limerick and the film plane.
Later Developments - Later on De Stijl
De Stijl-inspired architecture, specially by Rietveld and Oud, was built in kingdom of the netherlands throughout the 1920s, all of which, interestingly enough, seemed to defy van Doesburg's theory of Elementarism, instead utilizing conspicuously defined horizontal and vertical lines. De Stijl too had a major influence on Bauhaus compages and design; several members of De Stijl taught at the Bauhaus, perhaps most importantly van Doesburg, who lectured in that location in 1921-22. De Stijl's geometric visual linguistic communication, along with its architectural concepts such equally class following role and the accent on structural components, would reverberate in Bauhaus architectural exercise, every bit well as the global idiom known as the "International Manner."
With Theo van Doesburg's death in 1931, De Stijl lost its leader, and soon later faded from existence. However, the movement's fundamental ideas of pure geometric abstraction and the relationship of form and function were maintained past many following van Doesburg's expiry, and correspond a key contribution to modernistic and gimmicky art, design, and compages. Many of Rietveld's buildings, for example, survive the longevity of the De Stijl movement, and inspired a bully many 20th-century architects, amid them Mies van der Rohe.
Beyond the realm of architecture, the pared-down De Stijl aesthetic influenced many subsequent artists and designers of the 20th century and beyond, amid them the Abstract Expressionists Mark Rothko and Barnett Newman, Hard-border painters Frank Stella and Frederick Hammersley, and Minimalists Donald Judd and Dan Flavin.
Source: https://www.theartstory.org/movement/de-stijl/history-and-concepts/
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