STIJL (De) (Style)
A Dutch periodical created by Van Doesburg in 1917 for the defence of the Neo-Plastic principle, and whose central figure during the first three years was Piet Mondrian. The other contributors were, besides Van Doesburg himself, the Belgian painter and sculptor Vantongerbo, the painter Vilmos Huszar, the Futurist painter Gino Severini, the Dutch poet Antonie Kok, the architects Wils, van't Hoff and Oud, and, fleetingly, the painter Bart van der Leck. In the second year, the architect Rietveld joined the group and later, in 1921, the film director Hans Richter. In 1923, Van Doesburg, celebrating the fifth anniversary of the review, paid tribute to Mondrian in an editorial: 'Although several artists, in various countries, have worked consciously and unconsciously to evolve a new plastic expression, it was the painter Piet Mondrian who, about 1913, was first to arrive at a realization of the new plastic conception in painting as a logical con tinuation of Cubism. This accomplishment, which won the approval of the younger generation of artists in Holland, awakened the confidence of the most advanced painters in the possibilities of a new medium. De Stijl hails in Mondrian the father of Neo-Plasticism.' However, in the following year Van Doesburg himself forsook the severe principles of Neo-Plasticism and published the manifesto of Elementarism. Meanwhile De Stijl had opened its columns to Dadaism by publishing a supplement called Mecano. New names appeared: Van Eesteren, Kiesler, Arp, Antheil, Graeff, Schwitters, Ribemont-Dessaignes, Man Ray, Roehl, Lissitzky, Domela, Vordemberge-Gildewart, Pansaers, Kupka, Parnak; but Mondrian had stopped contributing (his last article appeared in 1924). De Stijl ceased to appear in 1928. However, in 1932, Mme Petro Van Doesburg published a last issue, devoted to the memory of her husband, who had died in 1931. Among the number of avantgarde magazines, frequently short-lived, that appeared throughout Europe between 1920 and 1930, De Stijl exercised an unmistakable influence upon art between the two wars (cf. articles on Mondrian and Van Doesburg).
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