Overview. 1 Piet Mondrian 3. 2 Theo van Doesburg Object Design Conclusion 53
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1 Overview 1 Piet Mondrian 3 2 Theo van Doesburg 28 3 Object Design 42 4 Conclusion 53
2 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Overview ii / li
3 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL 1 / 51 Piet Mondrian Through a series of progressively simplified subjects, Mondrian s paintings become the impetus for De Stijl s defining aesthetic.
4 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 2 / The De Stijl (The Style) movement was launched in the Netherlands and ran parallel to Futurism, Dada and Constructivism. The formal language came from Mondrian, but it took outside observers to galvanize its principles into a fully-realized movement.
5 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 3 / 51 PIET MONDRIAN, VILLAGE CHURCH, 1898
6 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 4 / 51 PIET MONDRIAN, SELF PORTRAIT, 1900
7 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 5 / 51 PIET MONDRIAN, ALONG THE AMSTEL, 1903
8 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 6 / 51 PIET MONDRIAN, MILL OF HEESWIJK SUN, CIRCA 1903
9 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 7 / 51 PIET MONDRIAN, MILL IN THE EVENING, 1905
10 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 8 / 51 PIET MONDRIAN, WINDMILL IN THE GEIN, 1907
11 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 9 / 51 PIET MONDRIAN, MILL IN SUNLIGHT: THE WINKEL MILL, 1908
12 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 10 / 51 PIET MONDRIAN, AVOND (EVENING): THE RED TREE, 1908
13 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 11 / 51 PIET MONDRIAN, HORIZONTAL TREE, 1911
14 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 12 / 51 PIET MONDRIAN, TREES IN BLOSSOM, 1912
15 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 13 / 51 PIET MONDRIAN, TABLEAU NO. 2/COMPOSITION NO. VII, 1913
16 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 14 / 51 PIET MONDRIAN, COMPOSITION NO. 9, BLUE FACADE, 1913/14
17 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 15 / 51 PIET MONDRIAN, COMPOSITION WITH OVAL IN COLOR PLANES II, 1914
18 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 16 / 51 PIET MONDRIAN, COMPOSITION NO. 10 PIER AND OCEAN, 1915
19 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 17 / 51 PIET MONDRIAN, COMPOSITION IN COLOR A, 1917
20 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 18 / 51 PIET MONDRIAN, COMPOSITION WITH GRAY AND LIGHT BROWN, 1918
21 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 19 / 51 PIET MONDRIAN, COMPOSITION WITH LARGE RED PLANE, YELLOW, BLACK, GRAY AND BLUE, 1921
22 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 20 / 51 PIET MONDRIAN, TABLEAU 2, 1922
23 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 21 / 51 PIET MONDRIAN, COMPOSITION WITH YELLOW, RED AND BLUE, 1927
24 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 22 / 51 PIET MONDRIAN, VERTICAL COMPOSITION WITH BLUE AND WHITE, 1936
25 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 23 / 51 PIET MONDRIAN, BROADWAY BOOGIE WOOGIE, 1943
26 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 24 / 51
27 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Piet Mondrian 25 / 51 MONDRIAN VAN DOESBURG VAN DER LECK They reduced their visual vocabulary to the use of primary colors (red, yellow, and blue) with neutrals (black, gray, and white), straight horizontal and vertical lines, and flat planes limited to rectangles and squares.
28 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL 26 / 51 Theo van Doesburg The son of a photographer, Van Doesburg was predisposed to visual communications at an early age and went on to work in many different styles associated with the European avant garde.
29 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Theo van Doesburg 27 / 51 LEFT: PIET MONDRIAN, SELF PORTRAIT, RIGHT: THEO VAN DOESBURG, SELF PORTRAIT, 1906
30 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Theo van Doesburg 28 / 51 LEFT: PIET MONDRIAN, SELF PORTRAIT, RIGHT: THEO VAN DOESBURG, SELF PORTRAIT, 1913
31 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Theo van Doesburg 29 / 51 THEO VAN DOESBURG, LANDSCAPE WITH HAY CART, CHURCH TOWERS AND WINDMILL, 1907
32 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Theo van Doesburg 30 / 51 THEO VAN DOESBURG, CHARACTURE PORTRAITS, 1910
33 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Theo van Doesburg 31 / 51 THEO VAN DOESBURG, FOUR STAGES OF COW, 1917
34 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Theo van Doesburg 32 / 51 THEO VAN DOESBURG, COUNTER COMPOSITION V, 1924
35 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Theo van Doesburg 33 / 51
36 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Theo van Doesburg 34 / 51 THEO VAN DOESBURG, COVER FOR DE STIJL MAGAZINE, 1917
37 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Theo van Doesburg 35 / 51 LEFT: EL LISSITZKY, PORTRAIT OF KURT SCHWITTERS, RIGHT: THEO VAN DOESBURG AS SERGEANT KÜPPER. C 1915
38 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Theo van Doesburg 36 / 51 THEO VAN DOESBURG, THE DENATURALIZED MATERIAL. DESTRUCTION 2, 1923
39 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Theo van Doesburg 37 / 51 THEO VAN DOESBURG, THE DENATURALIZED MATERIAL. DESTRUCTION 2, 1923
40 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Theo van Doesburg 38 / 51 THEO VAN DOESBURG, KLEINE DADA SOIRÉE, 1922
41 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Theo van Doesburg 39 / 51 THEO VAN DOESBURG, DE STIJL MAGAZINE, 1921
42 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL 40 / 51 Object Design In addition to the two-dimensional formal language refined by Mondrian and Van Doesburg, other practitioners applied the language to three-dimensions.
43 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Object Design 41 / 51 THEO VAN DOESBURG, PLASTIC GARDEN (VASES), 1919
44 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Object Design 42 / 51 THEO VAN DOESBURG,
45 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Object Design 43 / 51 THEO AND NELLY VAN DOESBURG IN A STUDIO IN PARIS. 1923
46 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Object Design 44 / 51 THEO VAN DOESBURG, PRIVATE HOUSE, MODEL, SEEN FROM THE WEST, 1923
47 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Object Design 45 / 51
48 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Object Design 46 / S Gerrit Rietveld Another architect makes an impression on the De Stijl movement. GERRIT RIETVELD, RED AND BLUE CHAIR, 1917
49 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Object Design 47 / 51 GERRIT RIETVELD, RED AND BLUE FURNITURE SET, 1917
50 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Object Design 48 / 51 GERRIT RIETVELD, SCHRÖDER HOUSE, 1924
51 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Object Design 49 / 51 GERRIT RIETVELD, SCHRÖDER HOUSE, 1924
52 GDT-101 / HISTORY OF GRAPHIC DESIGN / DE STIJL / Object Design 50 / 51 GERRIT RIETVELD, KRÖLLER-MÜLLER MUSEUM (ARNHEM, THE NETHERLANDS), 1955
53 Overview 1 Piet Mondrian 3 2 Theo van Doesburg 28 Conclusion 3 Object Design 42 4 Conclusion 53
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