IN ABSTRACT - DE STIJL Student Name : Elvina Mulyani Sindartha Student ID : S3515665 This essay will be talking about the fourth-week lecture, In Abstract – De Stijl. Founded by Theo van Doesburg and a group of several artists and architects, De Stijl was an avant-garde visual art and architectural movement. Artists like Piet Mondrian and Gerrit Thomas Rietveld were also associated with the movement. This movement began in 1917 during the first world war and it lasted until roughly 1931. Later when the first world war ended, there are some external influences came again to influence the De Stijl’s group. Amongst them were Bauhaus, a German design and architecture school), Russian Constructivism, and some of Dadaism. De Stijl is not …show more content…
The De Stijl artists were more concerned about the nature of form in colour themselves, rather than the appearance of the surroundings around them. The artworks that were made in De Stijl’s movement era are very simple. The compositions are asymmetrical made from simple horizontal and vertical lines and only using basic shapes like rectangles or squares. Their artworks are reduced to just using the colour palettes that only uses primary colours (red, yellow, and blue) and black lines. The De Stijl artists wanted to create a brave new white canvas experience by replacing the brown world of lyricism and ambiguity to reflect modern art . Also, they totally refused to use concrete component into their designs. The goal of De Stijl movement was to create balance and a relationship between form, space, and colour. Moreover, universal harmony was the main focus of the De Stijl promoting a utopian perception. Neo-positivism and cubism painting have big influences the art in this movement. In fact, the work itself are …show more content…
He was a skilled cabinet maker and spent almost his entire life making furniture. So, he was able to handcraft many of his own designs. In 1917, he opened his own furniture shop. Not long after, he joined the De Stijl movement in 1919. The design and creation of the chair actually did not begin with the ideas of De Stijl. Hence, it was not quite successful image of the De Stijl concept because the modernist concept of space is made into something traditional with the Red and Blue chair. The red and blue chair was designed first and was originally left with a natural wood finish, but was later finished according to the strict De Stijl colour scheme in the early 1920s. Bart van der Leck, was an architect and a fellow member of the De Stijl who saw the original design and suggested to Rietveld to add colours onto the chair. This chair was considered as one of the first explorations in 3-Dimensions in the De Stijl movement. It was named after its bright colours (Watson-Smyth 2013). The chair is mostly made up of black pieces, with red and blue colouring the flat planes. Moreover, throughout the chair there are slighty accents of yellow colour. Yet this chair is seen more as a sculpture in space and a work of art than a piece of furniture. Originally, it was left with a natural wood finish, but was later finished according to the strict De Stijl
Riopelle received professional training in fine art at the École du Meuble from 1943 to 1946 and was one of the students of another important Canadian artist, Paul-Émile Borduas. Borduas was known as the father of abstraction in Quebec. Borduas encouraged his students to discover a form of freedom and reject all academic constraints, invited them to think “painterly” rather than “literally”. This ideology had laid foundation to Riopelle’s oeuvre. Later, Riopelle joined a group of young abstract artists that led by Borduas, which lately was known as the “Automatist”. He adopted a stance in clear opposition to geometric abstraction. In Riopelle’s works from the late 1940s, he developed the spontaneous expression which favored by the surrealist painters. By Automatism, it means that allow the hands to work freely, that is no particular result in mind. The Automatism encourages total openness, the artist who draws unconsciously and repeat indefinitely the same shape. There is no metaphysical interpretation hides behind the works. According to Riopelle “painting is never the reproduction of an image, it always starts with a vague feeling… the desire to paint… Not a clear idea. The painting starts where it wants, but after, everything falls into place. That’s the important
The purpose of this Essay is to discuss an example of design from the late 1800s, I will relate it to the social, economic, technical and cultural context of that time. . I intend on delivering details of the artist and his life experiences as well as his style and possible interests. I will also evaluate the subject with my own opinion, likes and dislikes, with comparisons of work and artists from within that period up to the present date
Prior to the 1650’s, the Dutch Republic was the wealthiest and most powerful province in Holland through Amsterdam, the leading force in trade and banking. Many European nations were jealous of their success and wanted it for themselves which resulted in conflicts between the Dutch and many European powers. As a result, the Dutch Republic entered a period of decline until the Peace of Utrecht of 1713. The expensive wars with England and France, decline in trade and distrust between the Dutch provinces led to challenges in security, unity and prosperity of the Republic.
As the German painter and sculptor, Kathe Kollwitz conveyed in her statement that the art she created held the burden of transfiguration. The fixation of sorrow and hardship that occurred while she sat huddled with the children was the driving force of her drawings. Her realization that art could not only be an escape from the horror happenings in Germany such as the rationing of food and the starving-to-death children at that time was also a way to voice her opinion of change and revolution. It was the quest, in which she enamored in her drawings and it is this feeling that I value from it. I choose this artist because she delineated the various circumstances surrounding the human individual, she took into account perspectives that involved life with its tragedies, and the lives of little angel children. Her drawings and sculptures were prepared to emulate and capture what her eyes had seen while she was in Germany and this is why I had taken a likening to her drawings. The two artworks that I am specifying in this research paper is the drawing labeled “Germany's children starve!” and”Self-Portrait, Hand at the Forehead (Selbstbildnis mit der Hand an der Stirn)”.
Even thought during 15th century, Northern Europe experienced numerous alterations in representation of pictorial space, this paper will only address two of the major changes. They include “MAN IN A RED TURBAN” which was developed by Jan van Eyck in 1433 and “DIPTYCH OF MAARTEN CAN NIEUWENHOVE” developed by Hans Memling in 1487. In these two arts, the sculptors used colored pigments, drying oils such as walnut, linseed, and poopy-seed oil. The tools included wood panel, canvas, wall, brushes, and spatulas (Pearson, 2005; Fuga, 2006).
The Movements of the New Left by Van Gosse documents the events that shaped American’s lives during the 1960s and 1970s. In these 45 documents, Gosse touches on topics of race, antiwar, gay rights and nonviolent demonstrations. The Civil Rights Movement and the Feminist Movement both shared the ideas of equal rights for everyone. Both movements relate to mainstream liberalism, share similar goals or differences, evolved in the 1970s, and still have an impact on American’s to this day.
This paper will explore Vladimir Tatlin and Naum Gabo differences on the role of the Avant-Garde artists and how their beliefs influence the kind of work they produced. A pioneer of Russian design Vladimir Tatlin is a representative of Russian Realism. He left home when he was fifteen and served on the shipboard. When he became a painter, he often represented sailors in his pictures Art and culture in Russia after Revolution was a tool for creating industrially aesthetical reality. Tatlin’s project The Monument to the Third International (1920) one that so much can be considered an architectural work as a sculptural piece, it constituted by a spiral of iron that is expanded diagonally and enclosed by walls of glass of a much higher height to that of the Eiffel tower. It was never embodied into life, but this project shows that socialist order propagation was of primary concern for artists of the beginning of 20th century in Russia (Avant-Garde, Tatlin). Thus, in accordance with Tatlin, avant-garde artist transfers ideas of social reality of his modernity. In his project Tatlin wanted to reflect technological progress of post-revolutionary Russia. He was called “artist of great culture, a true master, who is a devoted worker for the proletarian revolution” (Avant-Garde – Abstraction in Constructivism).
Willem de Kooning was known as one of the major artists of the Abstract Expressionism period. In the post World War II era, de Kooning painted in the style that is referred to as Abstract expressionism, Action painting, and the New York School. Like all Modern art, the intent of these forms of art was not to produce beauty, but critical reflection. The intent was to awaken in the viewer a recognition of the specific, usually social or political, concern of the artist (New World, 2008). De Kooning reflected this period by working in such as a way as to both eschew all traces of visible reality in the painting as well as to create uncontrolled and sometimes violent gestures, which is reminiscent of this time (Gale Encyclopedia, 2006). His works show great emotion, mostly of a tortured, aggressive nature, which was thought of by many to be the ultimate expression of this abstract period.
The main perception through the role of art and design in this period placed by art nouveau practitioners is intriguingly relevant to the collections of historic art found within the V&A museum. The practitioner beliefs were that all the existing arts of that current time period should collaborate together without issues of any sort; while each art form or movement had its own unique form of perception and expression while maintaining their basic traditions where all considered...
The German Pavilion, more commonly known as the Barcelona Pavilion, is one of the most recognizable buildings of the modern period during the early 20th century. It encapsulates every element of modern architecture in one structure. Ludwig Mies van der Rohe, one of the fathers of modern architecture, was the architect of this beautiful building. In this essay I will explore how Mies impacted the modern movement in architecture through his groundbreaking ideas using the Barcelona Pavilion as a case study.
“History of Expressionism.” Euro Art Gallery. 16 November 2002 < http://euro-art-gallery.net/history/expressionism.htm>. – Short history of Expressionism.
Diarmuid Costello, Jonathan Vickery. Art: key contemporary thinkers. (UTSC library). Imprint Oxford: Berg, 2007. Print.
Among the many theories of art that have emerged over time, the theory I will defend in this paper is the Neo-Wittgensteinian theory of Art. I will defend this view against the following (two) objections: a) The “open concept” idea of art is too expansive, and b) the “family resemblance” theory of artworks is also too expansive.
“In a decaying society, art, if it is truthful, must also reflect decay. Moreover, unless it wants to break faith with its social function, art must show the world as changeable. And help to change it.” This quote by Ernst Fischer, a German composer, means that truth in art exposes the parts of society, and of life, that no one wants to see. In order for art to change society, it must first reflect the fears and failures of its people. The artist can change how people think of themselves and the world by using less conventional methods of creating art. The artist, in doing this, introduces new ideas of human placement in time and space, new frontiers of thought, that are furthered by the disciplines of science and philosophy. The artist works to introduces unique- and sometimes offensive- ideas so that society will be exposed to new ways of thinking and understanding the world. The artist does this through experimentation with color, style, and form. Therefore, the purpose of the artist should be to challenge how individuals perceive themselves and the offensive aspects of society reflected in art to bring about innovations in the greater society.
According to this situation, we found out the various essential elements of “Your Choice Furniture”.