Theo Van Doesburg’s Simultaneous Embrace of De Stijl and Dada

Theo Van Doesburg: A Dutch painter, architect, designer and writer. He was the founder of the De Stijl periodical (from 1917-1931) and leader of the movement De Stijl. His early works were influenced by various styles such as Impressionism, Expressionism, and fauvism until 1915 when he was introduced to the idea of total abstraction after an encounter with Piet Mondrian. During his life Doesburg devoted his efforts to spreading the ideas of modern art and especially those of the “De Stijl” movement. (“Theo Van Doesburg,” 2010)

His Philosophy: In 1915 Doesburg gave his first lecture on modern art. It was evident through that lecture that Theo Van believed art would lead humanity towards a higher spiritual world in which political and economical conflicts would disappear. The theory or concept behind his periodical was that integrating arts with architecture would result in a new simplified and geometric style that would be universal and harmonic. This style would be impersonal and inexpressive of the artist’s emotions as it is based on limiting expressive elements. Instead it would be a universal language based on geometric abstraction that everyone could comprehend. (Dickerman, 2006, p. 467. Eskilson, 2007, P. 187)

Doesburg’s approach to De Stijl and its influence in his work: In order to better understand the artist’s approach of the movement, we have to know some of its basic principles and fundamentals. De Stijl was generally based on reductive geometry and asceticism in both form and color. Colors that were used in most De stijl works were basic primary colors (sometimes with the use of Black and White) that signified purism the movement sought. Another key principle of the movement was contrast; especially that used in typographic design. Whether in the different alignment of the letters, color or between solid and void, to De Stijl artists contrast was expressive of universal truths. Based on “Gesamtkunstwerk” or “total work of art,” a concept that stated a work of art or a design can be applied to different aspects of visual arts at once. De Stijl was not to be applied to only one visual culture, but to unify all aspects under one set of rules in hope of achieving change in society rather than just being an art movement. (Eskilson, 2007, PP. 187,8,9)