De Stijl (1917–1932)

2018 ◽  
Author(s):  
Michael Johnson
Keyword(s):  
Geometric Form ◽  
Natural Form ◽  
Art And Design ◽  
Avant Garde ◽  
Universal Language ◽  
Straight Line ◽  
The World ◽  
Visual Style ◽  
Theo Van Doesburg ◽  
De Stijl

De Stijl (The Style) was an avant-garde artistic group founded in the Netherlands in 1917. The name was also applied to a journal used to propagate the group’s theories and published between 1917 and 1932. Led by the painters Theo Van Doesburg and Piet Mondrian, the group developed an abstract, elemental style based upon primary colors, geometric planes and right angles. Pursuing spiritual harmony based upon mathematical order, De Stijl formulated a universal language of pure form and color. This became paradigmatic of modernist visual art and design. In 1915 the painter and theorist Theo van Doesburg encountered the work of Piet Mondrian, who had developed a visual style consisting of primary colors and asymmetrical, orthogonal grids. Mondrian was inspired by the mystical ideas of the Theosophists, particularly the eccentric mathematician M.H.J. Schoenmaekers, who devised a Neo-Platonic philosophy based upon pure geometric form. Influenced by Schoenmaekers’ publications The New Image of the World (1915) and Principles of Plastic Mathematics (1916), Mondrian developed an artistic philosophy known as Neo-Plasticism (Nieuwe Beelding): This new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary, it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour … [This art allows] only primary colors and non-colours, only squares and rectangles, only straight and horizontal or vertical line.

van Doesburg, Theo (1883–1931)

2018 ◽  
Author(s):  
Michael Johnson
Keyword(s):  
Twentieth Century ◽  
Crucial Role ◽  
Avant Garde ◽  
Visual Style ◽  
Dutch Painter ◽  
Architecture And Design ◽  
Theo Van Doesburg ◽  
De Stijl

Theo van Doesburg was a Dutch painter, designer, and art theorist. As the founder and major polemicist of the avant-garde movement known as De Stijl (The Style), he was instrumental in developing an abstract style based on primary colors and geometry. Tirelessly promoting De Stijl across Europe, van Doesburg played a crucial role in the development of Modernist art, architecture and design in the first half of the twentieth century. Born Christian Emil Marie Küpper in Utrecht, van Doesburg was the son of the photographer Wilhelm Küpper. His pseudonym was developed from the name of his stepfather, Theodorus Doesburg, whom he regarded as his natural father. Van Doesburg became a painter around 1900. His early work was influenced by Post-impressionism and Fauvism, but in 1915 he discovered the work of Piet Mondrian and underwent a profound transition. Mondrian had developed an austere visual style based on primary colors and orthogonal grids. This convinced van Doesburg to pursue spiritual harmony based on mathematical order.

The Art in Gastronomy: A Modernist Perspective

2011 ◽  
Vol 11 (1) ◽  
pp. 13-23 ◽  
Author(s):  
nathan myhrvold
Keyword(s):  
Twentieth Century ◽  
Chronic Condition ◽  
Creative Expression ◽  
Art And Design ◽  
Avant Garde ◽  
The World

In the twentieth century, Modernism swept through virtually every form of art and design—except cuisine. In painting, dance, architecture, literature, and nearly every other form of intellectual creative expression, the continual rejection of the old in favor of new, avant-garde styles became, as Renato Poggioli observed, “the typical chronic condition.” But it was not until the 1970s that Nouvelle Cuisine began to transform classical French cooking, and Nouvelle was a rather limited revolution, narrow in its focus on techniques and ingredients, and limited as well in its impact on Spanish and Italian cuisine. A true Modernist revolution in food has begun only recently, as chefs such as Ferran Adrià began consciously developing gastronomic experiences that transform meals into dialogues between chef and diner. Avant-garde cooking emphasizes novel, unconventional presentation of familiar flavor themes—the “deconstruction” of the meal by evoking diners’ memories of past meals while taking the dishes in novel directions. A meal at elBulli or other Modernist restaurants often exposes conventions that guests do not even realize exist until the innovative food violates them. Like other good art, Modernist cuisine is challenging and provocative. Dozens of chefs around the world are now advancing this culinary movement as it follows a trajectory that is similar, in many ways, to the Modernist transformations of other cultural disciplines. Like those predecessor movements, Modernist cuisine has faced some resistance and criticism. But it has arrived.

Rietveld, Gerrit Thomas (1888-1964)

2018 ◽  
Author(s):  
Michael Johnson
Keyword(s):  
Three Dimensional ◽  
Geometric Form ◽  
Avant Garde ◽  
Design Objects ◽  
De Stijl

Gerrit Rietveld was a Dutch furniture designer and architect associated with the avant-garde movement known as De Stijl (The Style). Influenced by the abstract paintings of Piet Mondrian, Rietveld’s work emphasized pure geometric form and primary colors. As the principal interpreter of the De Stijl aesthetic, Rietveld demonstrated how Mondrian’s abstract style could be translated into three-dimensional design objects and buildings. His work helped to formulate many of the principles that became integral to modernist design of the 1920s and 1930s.

National Institute of Art and Design named after Kamoliddin Behzod

2019 ◽  
Vol 5 (4) ◽  
pp. 104-108
Author(s):  
Dilzoda Alimkulova
Keyword(s):  
20Th Century ◽  
Art And Design ◽  
Avant Garde ◽  
History Of ◽  
20Th Century Art

The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima Rakhmanbekova and others.

scholarly journals Vernacular traditions in Norwegian jewelry design - Past, present, future

2015 ◽  
Vol 8 (1) ◽  
Author(s):  
Astrid Skjerven
Keyword(s):  
Consumer Behavior ◽  
Reliable Indicator ◽  
Local Identity ◽  
Avant Garde ◽  
Economic Decisions ◽  
The World ◽  
Future Situation ◽  
Jewelry Design

Living in an era of globalization, the capability of communicating identity has become of greater importance than ever. This has increased our estimation of the vernacular, which represents an expression of a national or local identity. In Norway the vernacular tradition in silver jewelry is particularly strong. It has played an important role not only locally, but also in the constantly changing relation with the outside world, in accordance with the societal situation. It should therefore constitute a reliable indicator of how our country relates to the present process of globalization. The aim of the paper is to throw light on the relation between Norway’s role on the global scene and the use of the vernacular tradition in the development of jewelry design in general. It consists of a historical exploration that leads up to a discussion the present and future situation. Today there is a cleft between consumer behavior and avant-garde practice. In accordance with the global situation and Norway’s geopolitical situation of existing in the outskirts of political and economic decisions, the situation is characterized by a variety of practices, and by a slow acceptance of the vernacular values in the world of avant-garde practitioners.

scholarly journals A New Rotor Position Measurement Method for Permanent Magnet Spherical Motors

2018 ◽  
Vol 8 (12) ◽  
pp. 2415 ◽  
Author(s):  
Yin Lu ◽  
Cungang Hu ◽  
Qunjing Wang ◽  
Yi Hong ◽  
Weixiang Shen ◽  
...  
Keyword(s):  
Permanent Magnet ◽  
High Speed ◽  
Measurement Method ◽  
Coordinate Frame ◽  
Feature Points ◽  
Position Measurement ◽  
Experimental Platform ◽  
Rotor Position ◽  
Straight Line ◽  
The World

This paper proposes a new high-precision rotor position measurement (RPM) method for permanent magnet spherical motors (PMSMs). In the proposed method, a LED light spot generation module (LSGM) was installed at the top of the rotor shaft. In the LSGM, three LEDs were arranged in a straight line with different distances between them, which were formed as three optical feature points (OFPs). The images of the three OFPs acquired by a high-speed camera were used to calculate the rotor position of PMSMs in the world coordinate frame. An experimental platform was built to verify the effectiveness of the proposed RPM method.

Kazuo Ohno's World from Without and Within. By Kazuo Ohno and Yoshito Ohno. Translated by John Barrett. Middletown, CT: Wesleyan University Press, 2004; pp. 344. $34.95 paper.

2005 ◽  
Vol 46 (2) ◽  
pp. 315-317
Author(s):  
Kurt Wurmli
Keyword(s):  
Academic Research ◽  
Modern Dance ◽  
Deep Understanding ◽  
Research Centers ◽  
The West ◽  
Avant Garde ◽  
Art Form ◽  
The World ◽  
Inside View ◽  
Scholarly Attention

Kazuo Ohno and Tatsumi Hijikata are recognized as the most influential creators of the contemporary Japanese dance form known today as butoh. Since its wild and avant-garde beginnings in the late 1950s, butoh has evolved into an established and appreciated art form throughout the world. Despite its popularity and strong influences on the international modern dance world, butoh only recently became an accepted subject for academic research in Japan as well as in the West. With the new opening of butoh research centers and archives—such as the Ohno Dance Studio Archives at BANK ART 1929 in Yokohama, the Kazuo Ohno Archives at Bologna University in Italy, and the Hijikata Tatsumi Archives at Keio University in Tokyo—serious scholarly attention has been given to the art of butoh's founders. However, the lack of firsthand sources by butoh artists reflecting their own work still poses great limitations for a deep understanding of the art form. Kazuo Ohno's World from Without and Within is not only the first full-length book in English about the master's life and work, but also offers a rare inside view of butoh.

scholarly journals Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu

2020 ◽  
Author(s):  
Susanne Klengel
Keyword(s):  
Blind Spot ◽  
First World War ◽  
World War ◽  
Avant Garde ◽  
Artistic Production ◽  
The First World War ◽  
The World ◽  
Famous Book ◽  
Spanish Flu ◽  
First World

The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book of poetry Pauliceia desvairada (1922), which I reinterpret in the light of historical studies on the Spanish flu in São Paulo. An in-depth examination of all parts of this important early opus of the Brazilian Modernism shows that Mário de Andrade’s poetic images of urban coexistence simultaneously aim at a radical renewal of language and at a melancholic coming to terms with a traumatic pandemic past.

scholarly journals FROM ŁÓDŹ TO LEIDEN – ON INTERNATIONAL CONNECTIONS OF THE POLISH INTERWAR AVANT-GARDE

Muzealnictwo ◽  
2018 ◽  
Vol 59 ◽  
pp. 203-210
Author(s):  
Michał Wenderski
Keyword(s):  
Interwar Period ◽  
Avant Garde ◽  
Art And Literature ◽  
Archival Documents ◽  
De Stijl

This article is dedicated to international connections between selected representatives of Polish and Western avant-gardes in art and literature of the interwar period. Both the nature and the scale of such relations have been exemplified by a number of artists from the “a.r.” group – Katarzyna Kobro, Władysław Strzemiński, Henryk Stażewski and Jan Brzękowski, as well as their relationships with the representatives of Dutch and Belgian formations, inter alia “De Stijl” group. The origin of those connections has been briefly presented, along with their nature, dynamics and an impact they made on artworks and theories of chosen artists. Their description is based on archival documents and publications, from which a picture of direct relationships between the leading artists of the European avant-garde emerges – some of them personal, some correspondence-based; they have also been presented in form of a diagram that illustrates the text.

scholarly journals THE EQUIVALENCE IN TRANSLATION OF PUJA TRI SANDHYA FROM INDONESIAN TO ENGLISH

2020 ◽  
Vol 4 (1) ◽  
pp. 28
Author(s):  
Anak Agung Inten Mayuni
Keyword(s):  
Native Language ◽  
Theory And Practice ◽  
Target Language ◽  
Reform Movement ◽  
Dynamic Equivalence ◽  
Source Language ◽  
Universal Language ◽  
The World ◽  
Major Reform ◽  
The Government

Puja Tri Sandhya is Hindus prayer known in all countries. The original prayer came in Sanskrit language, but every Hindus believer already translate the prayer into their native language. In 1950, Balinese Hindus used Puja Tri Sandhya to get the recognition from the government allowing Parisada Hindu Dharma Indonesia (PHDI)—the major reform movement and Hindus organization in Indonesia—to translate Puja Tri Sandhya into Indonesian. This translation aimed to make every Hindus believer in Indonesia knows about the meaning of the mantras. Besides Indonesian, Puja Tri Sandhya is also translated into the universal language that 20 percent of the world spoke, English. English is believed to give the best medium to other people who want to learn more about Hindus or simply just curious. As a reminder, in this paper Indonesian will be the source language (SL) and English will be the result of the translation so we shall call it target language (TL). In translation, equivalency will be the point to show if the translation is well translated or not. In their book The Theory and Practice of Translation (1959), Nida and Taber state two kinds of equivalency that the translator can use as their reference they are: formal and dynamic equivalence. Here, Puja Tri Sandhya in Indonesian and English versions will be analyzed using 2 kinds of equivalences by Nida and Taber.

Sign in / Sign up

Export Citation Format

Share Document