De StijlDe Stijl

•This movement was named after a Dutch magazine ‘The Style’. /

Hierdie beweging is vernoem na die Nederlandse tydskrif ‘Die

Styl’.

• It was a collaboration of artists who aimed at clarity, certainty

and order through simplification / Dit was die samewerking van

kunstenaars wat gestreef het vir sekerheid, orde, duidelikheid

deur middel van vereenvoudiging.

•They used primary colours and black and white and grey / Hulle

gebruik primêre kleure asook wit en swart en grys.

•Straight lines, rectangles and cubes / Reguit lyne, reghoeke en

vierkante

•Abstraction and simplification / Abstraksie en vereenvoudiging

•Painting, sculpture, architecture, graphic design, industrial design

/ Skilder, beeldhou, argitektuur, grafiese ontwerp, industriele

ontwerp

•Devaluation of traditional art / Devaluasie van tradisionele kuns

•Van Doesberg en Mondrian

Piet MondrianBACKGROUND DETAILS / AGTERGROND

•He was the most radical abstractionist of his time / Hy was die

mees radikaalste abstrakte kunstenaar van sy tyd

•Mondrian started with the same square and rectangular

composition as traditional Dutch artists, but he simplified the it and

abstracted it to its purest form / Mondrian het begin met dieselfde

vierkantige en reghoekige komposisies as tradisionele

Nederlandse kunstenaars maar, het dit vereenvoudig to op die

abstrakte en suiwerste vorm.

ONDERWERP / SUBJECT MATTER

•Traditional Dutch subject / Tradisionele Nederlandse onderwerpe

•The city / Die stad

WERKE / WORKS

•‘The Red Tree’

•‘Broadway Boogie Woogie’

•‘Composition in Colour A’

TEGNIEK EN MEDIUM / TECHNIQUE AND MEDIUM

•The thick black lines are hand painted / Die dik swart lyne is met

die hand geverf

•There is short, harsh, disciplined brushstrokes in his earlier work /

Die kwashale in sy vroee werk is kort en gedissiplineerd

•He leaves areas near the edges open / Hy los areas naby die

kante oop

•He would sometimes use the canvas in a diamond shape / Soms

gebruik hy sy doek in diamante vorm

STYL / STYLE

•Plasticism: Mondrian felt that the abstraction of Cubists was not leading to pure

reality / Mondrian voel dat die abstraksie van die Kubiste nie na suiwer realiteit

lei nie.

•Plasticism meant that abstraction should be used in a way so as to clarify

reality, not cloud it. / Plastisisme beteken dat abstraksie op so ‘n manier gebruik

word om duidelikheid te verkry en nie dit te verbloem nie.

•He sought a balance of colour and form / Hy soek ‘n balans tussen kleur en

vorm

•Composition is dominated by thick black vertical and horizontal lines / Die

komposisie word gedomineer deur dik horisontale en vertikale lyne

•Mondrian’s goal was pure reality and equilibrium / Mondrian se doel was pure

realiteit

•Abstractions were geometric and had a non-symetrical balance / Abstraksie

was geometries en het ‘n nie-simmetriese balans gehandhaaf

Title/ Titel: Tableau II

Artist / Kunstenaar: Mondrian

Medium: Oil on canvas

Format/ Formaat: 29 ½ X 25 ½

Location/ Lokaliteit: Zurich

SUBJECT / ONDERWERP

•Rectangular picture filled with linear structures of black horizontal

and vertical lines.

•Reghoekige prentvlak gevul met ‘n liniere struktuur van

horisontale en vertikale lyne.

•The black structure does not only surround the colour areas but

both are equally important.

•Die swart omsluit nie net die kleurareas nie, maar beide is ewe

belanrik.

•Certain blocks are filled with red, blue, yellow, black and two

shades of grey.

•Sommige bloke is gevul met rooi, geel, blou, swart, asook twee

skakerings van grys.

•Both the red and grey areas are divided into blocks of various sizes.

•Beide die rooi en grys areas is verdeel in blokke van verskillende groottes

•The black rectangles which changed from lines into a solid black planes,

brings unity between line and colour.

•Die swart reghoeke wat verander van lyne na swart kleur panele, bring

eenheid tussen lyn en kleur.

•The sides of the painting are left open at the top and bottom left corner. This

causes the grey areas to move around the lines at the outside.

•Die kante van die skildery is oop gelos aan die bo kant en onder linkerkantste

hoek, dus beweeg die grys areas om die lyne aan die buitekant.

•At the bottom right corner, the black was taken to the edge where it ends in a

black area.

•Op die onderste regterkantse hoek is tot op die kant gevat waar dit eindig in ‘n

soliede swart area.

•Rest of painting red, yellow and grey forms the outer edge.

•Op die res van die skildery vorm rooi, geel en grys die buitenst rande.

COMPOSITION / KOPOSISSIE

•The parts form a perfect visual balance, but are under

tremendous tension.

•Die dele vorm ‘n perfekte visuele balans, maar is onder

geweldige spanning

• The black lines which binds every thing together forms a unit

•Die swart lyne bind alles saam as ‘n eenheid

SPACE/ SPASIE

•Although the colours were applied flat, certain colours come to

the front and others fall back into the background.

•Alhoewel die kleure plat aangewend word, lyk dit asof sekere

kleure na vore kom en ander terug sak in die agtergrond in.

•Because of the structure of the painting and the subtle placing of

the colour areas, even the grey areas seem to be at different

depths.

•As gevolg van die struktuur van die skildery en die subtiele

plasing van die kleur areas lyk dit selfs asof die grys areas op

verskillende vlakke voorkom

TECHNIQUE / TEGNIEK

•Flat, opaque colour surfaces, no visible brushstrokes.

•Plat, ondeurskynende oppervlaktes, geen sigbare kwashale

CONTENT / INHOUD

•Mondrian strove for a dynamically balanced vertical and

horizontal structure which consist of the primary colours as well

as black and white.

•Mondrian streef na ‘n dinamiese gebalanseerde vertikale en

horisontale struktuur wat bestaan uit die primere kleure sowel as

wit en swart

Titel / Titel: Broadway Boogie-Woogie

Artist / Kunstenaar: Mondrian

Medium: Oil on canvas

Format / Formaat: 50 x 50

Time / Tyd: 1942-43

Location / Lokaliteit: Museum of Modern Art, New York

INFLUENCE / INVLOED

•impact of the city on Mondrian is very noticeable

•Impak van die stad op Mondrian is duidelik sigbaar in hierdie werk

FORMAT / FORMAAT

•square canvas

•vierkantige doek

SUBJECT / ONDERWERP

•Broke away completely from earlier formula

•Breek weg van sy vorige formules

•It still had a frame work like his other work, but this frame consisted of colour

•Dit het steeds ‘n raamwerk soos in sy ander werke maar, die raam bestaan

uit gekleurde blokkies.

•The lines consist of small squares and rectangles in red, yellow and blue.

•Die lyne bestaan uit klein vierkante en reghoeke in rooi, geel en blou

•Only here and there between the lines did Mondrian use colour. (red, yellow

and blue)