Theory and Design in the First Machine Age

By Reyner Banham | Go to book overview

14: De Stijl: the International phase

THOUGH IT IS impossible to draw a hard and fast line between the Dutch and International phases of de Stijl, in terms of theoretical writings or artistic productions, the change in membership between 1920 and 1922 is very marked indeed, and gives a fair picture of the transformation that was in process. By the beginning of 1922 van der Leck, van Tongerloo, van t'Hoff, Wils, Oud and Kok had left, and Huszar was about to leave, while Mondriaan, established in Paris since 1919, was no longer a directly effective member, though he did not resign finally until 1925. Severini had also lost contact, so that van Doesburg himself alone remained of the original membership. The new men who filled the gaps were very different from those who had left.

Only two of them were Dutch, two were imaginary, one was German, one was Russian. The Dutch pair were Gerrit Rietveld, who had been a member since as early as 1918, but only now came to prominence, and Cor van Eesteren, whom van Doesburg enrolled in Weimar in 1923. Both have gained fame as architects though Rietveld seems to have entered the group as a furniture-maker, and van Eesteren, far from being a convinced Modernist when he met van Doesburg, was on his way to take up a Rome scholarship. The two imaginary members were both pseudo-persons of van Doesburg1 in his Dadaist mood, I. K. Bonset and Aldo Camini, and it was over these signatures that he made most of his purely literary contributions to de Stijl. The German was Hans Richter, a former Dadaist who had turned to abstraction independently of the Dutch Movement, and the Russian was El Lissitsky, the apostle of Constructivism to Western Europe. The adherence of Lissitsky was brief, though important, and his place was taken by two other members of the Berlin G group, Frederich Kiesler, the Austrian theatrical designer, and Werner Graeff, an ex-student of the Bauhaus who was later connected with the Werkbund. The fourth and most celebrated member of G, Mies van der Rohe, never became a

____________________
1
Even ' van Doesburg' was a pseudonym--his real name was C. E. M. Kupper.

-185-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Theory and Design in the First Machine Age
Table of contents

Table of contents

  • Title Page 3
  • Contents 5
  • Acknowledgements 6
  • Illustrations 7
  • Introduction--The Machine Age 9
  • Section One 13
  • 1: the Academic Tradition and the Concept of Elementary Composition 14
  • 2: Choisy 23
  • 3: the Academic Succession 35
  • 4:England:Lethaby and Scott 44
  • 5: Germany 68
  • 6: the Factory Aesthetic 79
  • 7: Adolf Loos and the Problem of Ornament 88
  • Section Two 98
  • 8: Futurism 99
  • 9: Futurism: Theory and Development 106
  • 10: Sant'Elia and Futurist Architecture 127
  • Section Three 138
  • 11: Holland 139
  • 12: De Stijl: the Dutch Phase 148
  • 13: Expressionism 163
  • 14: De Stijl 185
  • Section Four 201
  • 15: Architecture and the Cubist Tradition 202
  • 16: Progressive Building in Paris 214
  • 17: Vers Une Architecture 220
  • 18: Le Corbusier 247
  • Section Five 264
  • 19: the Berlin School 265
  • 20: the Bauhaus 276
  • 21: Germany: the Encyclopaedics 305
  • 22: Conclusion 320
  • Index to Proper Names and Buildings 331
  • Index, to Topics, Publications, and Organisations 335
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 342

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

    Already a member? Log in now.