De stiji, an abstract artistic movement of intellectualism occurred centering around Netherlands during World War Ⅰ, designates all the movements about pictures, architecture, furniture, design and so forth. The name of De Stiji meaning style came from the name of the magazine of De Stiji published ...
De stiji, an abstract artistic movement of intellectualism occurred centering around Netherlands during World War Ⅰ, designates all the movements about pictures, architecture, furniture, design and so forth. The name of De Stiji meaning style came from the name of the magazine of De Stiji published between 1917 and 1932 whose central figures were Pieter Mondrian and Theo Van Does Burg. The principle of the idea of De Stiji whose visual expression was limited in straight line and right angle, vertical and horizontal line, three primary colors-red, blue, yellow and non-colory painting-black, white, gray, is an absolute abstract one perfectly excluding natural objects in its brief summarization. And the essential principle of De Stiji was harmony and balance. Thus, De Stiji, the foundation of Mondrian’s New-Plastic theory, thought that its exactitude can be realized only by strictly decided geometrical elements. The geometrical characteristic appearing in the formation of De Stiji, that is to say, not only the emphasis of mathematical order and the reflection of general and reasonable sides, but the expression of the absolute dimension surpassing personal character, means man’s own aspiration for perfectness. According, the formative action of De Stiji painters realized geometrical order and autonomous character in various field of design through applying the mathematical side in geometrical element to the rhythm of the formative style and the correlation of the structure. The principle of De Stiji like this became not only the background for the creation of the abstract art, a trend in the thought of fine arts at that time, but also a turning point for the formation of the style in design by reflection in every field of design. Therefore, in this study, Some concrete examples about the influence on typography, architecture and the design of the manufactured goods by the character of the geometrical system from De Stiji are analyzed in various fields. The influences on the style of design by De Stiji in 1917 – 1932 are as follows. First, it appeared in the asymmetrical and simplified shape of typography whose typical examples were those of Van Doesburg, Moholy-Nagy, and Jan Tschihold, the context handing down to the modern typography. Second, an influence on the manufactured goods can be cited, that is to say, the appearance of geometrical style in the form of a chair whose typical examples are M.Breuer’s tubular steel chair and Mies Vander Rohe’s tubular steel chair similar to this. And these chairs have been being produced up to the present. Third, the influence of De Stiji also appeared as asymmetrical and geometrical form in architecture – Schroedr house of Gerrit Riet veld and Café Robert of Van Doesburg including New campus building of Desau Bauhaus. The style like this in architecture came to take its place in the modern architecture after this as the name of international style. As the above, the influence of De Stiji on fine arts in the twentieth century can be said as the development of new artistic style, especially showing new modern style in design, followed by the development of the style in modern design. Thus, it can be stated that De Stiji takes an important place in the history of design in the twentieth century.
De stiji, an abstract artistic movement of intellectualism occurred centering around Netherlands during World War Ⅰ, designates all the movements about pictures, architecture, furniture, design and so forth. The name of De Stiji meaning style came from the name of the magazine of De Stiji published between 1917 and 1932 whose central figures were Pieter Mondrian and Theo Van Does Burg. The principle of the idea of De Stiji whose visual expression was limited in straight line and right angle, vertical and horizontal line, three primary colors-red, blue, yellow and non-colory painting-black, white, gray, is an absolute abstract one perfectly excluding natural objects in its brief summarization. And the essential principle of De Stiji was harmony and balance. Thus, De Stiji, the foundation of Mondrian’s New-Plastic theory, thought that its exactitude can be realized only by strictly decided geometrical elements. The geometrical characteristic appearing in the formation of De Stiji, that is to say, not only the emphasis of mathematical order and the reflection of general and reasonable sides, but the expression of the absolute dimension surpassing personal character, means man’s own aspiration for perfectness. According, the formative action of De Stiji painters realized geometrical order and autonomous character in various field of design through applying the mathematical side in geometrical element to the rhythm of the formative style and the correlation of the structure. The principle of De Stiji like this became not only the background for the creation of the abstract art, a trend in the thought of fine arts at that time, but also a turning point for the formation of the style in design by reflection in every field of design. Therefore, in this study, Some concrete examples about the influence on typography, architecture and the design of the manufactured goods by the character of the geometrical system from De Stiji are analyzed in various fields. The influences on the style of design by De Stiji in 1917 – 1932 are as follows. First, it appeared in the asymmetrical and simplified shape of typography whose typical examples were those of Van Doesburg, Moholy-Nagy, and Jan Tschihold, the context handing down to the modern typography. Second, an influence on the manufactured goods can be cited, that is to say, the appearance of geometrical style in the form of a chair whose typical examples are M.Breuer’s tubular steel chair and Mies Vander Rohe’s tubular steel chair similar to this. And these chairs have been being produced up to the present. Third, the influence of De Stiji also appeared as asymmetrical and geometrical form in architecture – Schroedr house of Gerrit Riet veld and Café Robert of Van Doesburg including New campus building of Desau Bauhaus. The style like this in architecture came to take its place in the modern architecture after this as the name of international style. As the above, the influence of De Stiji on fine arts in the twentieth century can be said as the development of new artistic style, especially showing new modern style in design, followed by the development of the style in modern design. Thus, it can be stated that De Stiji takes an important place in the history of design in the twentieth century.
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