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Dutch artist Theo van Doesburg (1883 - 1931) is perhaps best known as a prime mover in De Stijl, the Dutch artistic movement that demanded an extreme simplicity and abstraction in both architecture and painting. Here, for the first time, the true extent of his influence is explored, demonstrating that it reached far beyond Holland, throughout Europe, into Russia and beyond. Inspired initially by the writings of Kandinsky on art and later by his friendship with Mondrian, van Doesburg evolved a distinctive style of abstract painting. He also experimented with and contributed to fields as diverse as film, typography, graphic design, music, and architecture.Accompanying a major touring exhibition, this book examines van Doesburg's pivotal role in the development of modernism and his relationships with and influence upon a constellation of artists who spanned a wide range of backgrounds and disciplines. They included Jean Arp, El Lissitsky, Piet Mondrian, Láslzó Moholy-Nagy, Man Ray, Gerrit Rietveld, Kurt Schwitters, and Tristan Tzara, among others, and their work is both illustrated and discussed alongside van Doesburg's.

(USA) Stared 1st American edition, Owner's inscription and date to end paper, bookplate to inside front cover, no other markings, Very Good in Very Good dust jacket. Cloth, 232pp, index. colour plates; B&W photos and illus. This is the life and writings of Van Doesburg, the avant-garde Dutch artists and co-founder of the De Stijl movement.2.6 JM LVR 200/b1 Size: 8vo - over 7¾" - 9¾"

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 0.6

This handsome catalogue presents the Dutch artist Theo Van Doesburg (1883-1931) as a nomadic propagandist on a quest for a new aesthetic that, in conjunction with contemporary science and technology, sought to reform the world. Van Doesburg was a central figure of the De Stijl movement, characterized by a pared-down aesthetic centered in basic visual elements such as geometric shapes and primary colors, and this book highlights the artist’s collaborations with other leading members, including Piet Mondrian, Bart van der Leck, and Georges Vantongerloo. It also traces the stylistic trajectory of the artist’s career from his Neo-Plasticist and Dadaist creations to his Elementarist and Conrete artworks and brings together art, architecture, cinema, poetry, literature, design, and typography to illuminate Van Doesburg’s enduring contributions to De Stijl.  

This is a comprehensive study of a major figure of the modern movement, in whose work philosophy, architecture and painting are inextricably entwined. From the founding of the periodical De Stijl in 1917, van Doesburg occupied a central position in the development of a Modernist aesthetic. His early career was concentrated on poetry and painting, but from the inception of De Stijl and his association with painters and architects such as Piet Mondrian and J. J. P. Oud, he turned increasingly to architecture as the locus for the accomplishment of the 'total work of art'. Van Doesburg became an architectural theorist of international renown, but encountered disappointment at every turn in his architectural practice. Projects and buildings became object-lessons in the fundamental principles of architecture; theory was shown to be a necessary concomitant to practice. Van Doesburg's extreme polemic guaranteed controversy and conflict so intense that it is still fresh in the minds of his surviving collaborators and correspondents. As the flint to the steel of architects like Gropius and Le Corbusier, as a painter and architect, and as the editor of De Stijl, he was a key figure in the growth of Modernism.

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This handsome catalogue presents the Dutch artist Theo Van Doesburg (1883-1931) as a nomadic propagandist on a quest for a new aesthetic that, in conjunction with contemporary science and technology, sought to reform the world. Van Doesburg was a central figure of the De Stijl movement, characterized by a pared-down aesthetic centered in basic visual elements such as geometric shapes and primary colors, and this book highlights the artist’s collaborations with other leading members, including Piet Mondrian, Bart van der Leck, and Georges Vantongerloo. It also traces the stylistic trajectory of the artist’s career from his Neo-Plasticist and Dadaist creations to his Elementarist and Conrete artworks and brings together art, architecture, cinema, poetry, literature, design, and typography to illuminate Van Doesburg’s enduring contributions to De Stijl.  

De Stijl ("The Style") was the name given to the work of the architects, designers and artists associated with the magazine of the same title edited by Theo van Doesburg and founded in Holland in 1917. De Stijl was international in its outlook: in contact with the Bauhaus and the Russian Constructivists, it helped create the ideology and formal language of modernism. This survey illuminates the works of Mondrian and the architecture and designs of Oud, Wils, Huszar and Rietveld, all of whom aimed to create an objective art concerned with universal values, expressed in primary geometric forms and pure colors. 157 illus., 17 in color.

Features recently discovered, previously unpublished materials from the archives of the Kunstbibliothek in Berlin by Bauhaus professor and renowned avant-garde artist László Moholy-NagyIncludes work by Moholy-Nagy, Guillaume Apollinaire, F.T. Marinetti, Theo van Doesburg, Herbert Bayer, Walter Dexel, and El LissitzkyPublished concurrently with an exhibition at the Staatliche Kunstbibliothek in BerlinThe 1920s in Germany witnessed a revolution in visual communication, typography, and graphic design that still influences us today. In 1929, Hungarian avant-garde artist and Bauhaus professor László Moholy-Nagy was invited to design a room dedicated to the future of typography at the Martin-Gropius Bau in Berlin as part of a larger exhibition called New Typography ("Neue Typographie").The exhibition was organized by the Ring of New Advertising Designers ("ring neue werbegestalter"), a group started by Kurt Schwitters in 1927 which consisted of 12 avant-garde designers and artists who explored a common vision of modernity in advertising and graphic design. In five years, the Ring put on over 20 shows in Germany, and invited guest artists to exhibit with them. Moholy-Nagy's room in the New Typography show was called "Where is Typography Headed?". He created 78 freestanding panels with work by himself, other artists, and contemporary printed matter, which addressed the current trends and future direction of typography. The panels are reproduced together in this book for the first time, along with an Abcdarium of terms and concepts by a roster of noted typography and design historians.

Features recently discovered, previously unpublished materials from the archives of the Kunstbibliothek in Berlin by Bauhaus professor and renowned avant-garde artist László Moholy-NagyIncludes work by Moholy-Nagy, Guillaume Apollinaire, F.T. Marinetti, Theo van Doesburg, Herbert Bayer, Walter Dexel, and El LissitzkyPublished concurrently with an exhibition at the Staatliche Kunstbibliothek in BerlinThe 1920s in Germany witnessed a revolution in visual communication, typography, and graphic design that still influences us today. In 1929, Hungarian avant-garde artist and Bauhaus professor László Moholy-Nagy was invited to design a room dedicated to the future of typography at the Martin-Gropius Bau in Berlin as part of a larger exhibition called New Typography ("Neue Typographie").The exhibition was organized by the Ring of New Advertising Designers ("ring neue werbegestalter"), a group started by Kurt Schwitters in 1927 which consisted of 12 avant-garde designers and artists who explored a common vision of modernity in advertising and graphic design. In five years, the Ring put on over 20 shows in Germany, and invited guest artists to exhibit with them. Moholy-Nagy's room in the New Typography show was called "Where is Typography Headed?". He created 78 freestanding panels with work by himself, other artists, and contemporary printed matter, which addressed the current trends and future direction of typography. The panels are reproduced together in this book for the first time, along with an Abcdarium of terms and concepts by a roster of noted typography and design historians.

At once artist, composer, poet, editor, photographer, curator, gallerist and collector, Edouard Léon Théodore Mesens (1903–1971) was a formidably prolific and visible presence in European Dada and Surrealism. A close friend to Tristan Tzara, Theo van Doesburg and Erik Satie, Mesens orchestrated René Magritte’s international breakthrough and introduced the Surrealist movement to the United Kingdom, thus forging links between the Belgian, British and French branches of the movement. His collages and artworks, with their vacated spaces and odd geometries, recall the early work of de Chirico or the Dada collages of Raoul Hausmann. This superbly produced volume is the first substantial monograph on Mesens, who has long been a cult figure and object of intrigue (thanks in part to George Melly’s account of his ménage-a-trois with Mesens and his wife, in his autobiographical writings). Mesens’ art and life provide a crucial piece of the Surrealist puzzle.

At once artist, composer, poet, editor, photographer, curator, gallerist and collector, Edouard Léon Théodore Mesens (1903–1971) was a formidably prolific and visible presence in European Dada and Surrealism. A close friend to Tristan Tzara, Theo van Doesburg and Erik Satie, Mesens orchestrated René Magritte’s international breakthrough and introduced the Surrealist movement to the United Kingdom, thus forging links between the Belgian, British and French branches of the movement. His collages and artworks, with their vacated spaces and odd geometries, recall the early work of de Chirico or the Dada collages of Raoul Hausmann. This superbly produced volume is the first substantial monograph on Mesens, who has long been a cult figure and object of intrigue (thanks in part to George Melly’s account of his ménage-a-trois with Mesens and his wife, in his autobiographical writings). Mesens’ art and life provide a crucial piece of the Surrealist puzzle.

The journal "G," launched at the suggestion of the founder of the De Stijl movement, Theo van Doesburg, and produced by the artist and filmmaker, Hans Richter, was published in Berlin between 1923 and 1926, when the city was an epicentre of the European avant-gardes. Drawing together painting, sculpture, photography, film, architecture, engineering, industrial design, poetry, fashion, and urbanism, it sought to counter conservative forces that would restrict the development of a new and vital culture. Contributions were published in the journal from leading avant-garde figures including Mies van der Rohe, El Lissitsky, Tristan Tzara, Man Ray and Theo van Doesburg. The radicalism of the ideas published within "G" were matched by its design and typography. For the first time the journal is translated and reproduced in full, so that its vivid, polemical language is set alongside its bold and innovative layouts that have lost none of their visual impact, capturing the dynamism and excitement of this pivotal moment in modernist history.

Jean Helion (1904–1987) is a fascinating artist from many points of view. An architectural draftsman soon converted to abstract painting, he became a leading member of the international Abstraction-Creation group in the early 1930's. After the death of his close friend Theo van Doesburg, he took abstraction to New York, where he lived on and off from 1932 to 1946, and to Britain, especially in the years 1933–37 when many avant-garde artists took refuge there.

Joining the honorable tradition of stained glass windows made by artists (Chagall, van Doesburg, Polke, Richter), Imi Knoebel (born 1940) was commissioned to create six windows for the Cathedral of Notre Dame in Reims, France. This publication documents the entire project, from the artist’s initial three-color proposal to installation views.