Neoplasticism

For the art movement that birthed this school of theory, itself sometimes called "Neoplasticism", see De Stijl.

Theo van Doesburg Composition VII (the three graces), 1917

Neoplasticism, known in Dutch as Nieuwe Beelding (New Visualization), is an avant-garde art theory that arose in 1917 and was employed mainly by Dutch De Stijl artists. The most notable advocates of the theory were the painters Theo van Doesburg and Piet Mondriaan. Neoplasticism advocated for an abstract art that had been purified by applying the most elementary principles through plainly rational means. Thus, a painting that adhered to neoplastic theory would typically consist of only simple shapes and primary colors.

Origin

Mondrian, known for his distinctive geometric compositions using primary colors and straight lines, referred to "pure plastic art" as a term to describe his style of abstract painting.

The term "neoplasticism" was probably influenced by the writings of Mathieu Schoenmaekers, who published two significant books in Holland, Het Nieuwe Wereldbeeld (The New Worldview) in 1915 and Beginselen der beeldende wiskunde (Principles of Visual Mathematics) in 1916. Modrian originally used the Dutch terms beeldend (meaning visual ) and nieuwe beelding (new visualization ), the exact translation of which is not possible in English and French, although the German neue Gestaltung (new design ) is closest to the original Dutch.

When in 1920, Mondrian published his essay "Le Neo-Plasticisme" in French, the term néo-plasticisme was translated into English as neo-plasticism.. In Neoplasticism, the word "beeldend", meaning "visual", translates to "plastic" or "figurative". Hence, "plastic art and pure plastic art" can be understood to mean "visual art and pure visual art", or "figurative art and pure figurative art".

Mondrian's 1937 essay, entitled "Plastic Art and Pure Plastic Art (Figurative Art and Non-Figurative Art)" , describes "plastic art" as "figurative", "objective" and "individual", whereas "pure plastic art" is "non-figurative" (abstract), "subjective" and "universal".

For Mondrian, "pure plastic art" encompassed the idea of creating universal (as opposed to individual) art that was focused on the fundamental elements of form, color, line, and space. He aimed to express universal truths and principles through the arrangement of these elements within the confines of the canvas. Mondrian believed that by simplifying and reducing art to its most basic components, he could evoke a sense of harmony, balance, and order that resonated with a deeper spiritual reality.

In his pursuit of "pure plastic art", Mondrian developed his signature style known as "Neoplasticism", adopted by De Stijl (The Style), characterized by grids of black lines intersecting with planes of primary colors (red, blue, yellow) and non-colors (white, black, and gray). Through this style, Mondrian sought to transcend the material world and connect with a higher, spiritual realm through pure abstraction and geometric harmony.

Historically, the term "plastic arts" pre-dates Neoplasticism to denote visual art forms (painting, sculpture, and ceramics) as opposed to literature or music. The terms plasticity and plasticism became more widely used in the early 20th century by critics discussing modern painting, particularly the works of Paul Cézanne.

Assumptions

Nicolas Poussin. Et in arcadia Ego. Ca. 1638–1640. Louvre.

According to the Neoplasticists, the painter, sculptor, architect, musician, writer, etc., are concerned with expressing or depicting all facets of life. However, this never happens by chance. Every painting, sculpture, building, piece of music, book, etc., is deliberately created. It is the maker's product and, to a lesser extent, what it represents. The events in this painting Et in arcadia Ego by Nicolas Poussin never took place. Even the body postures of the figures are not so common in real life. Yet it convinces and forms a harmonious whole. So every artist manipulates reality to produce an aesthetically pleasing, artfully pleasing whole: to create harmony. Even the most realistic painters, such as Vermeer or Rembrandt, used all kinds of artistic means to achieve the greatest possible degree of harmony. The artists of De Stijl called these "visual means". However, the artist determines to what extent he allows these visual means to dominate or to stay as close as possible to his subject. In painting and sculpture, and to a lesser extent in architecture, music, and literature, there is a duality between the idea of the artist and the matter of the world around us.

Bibliography

• Bax, Marty (2001) Mondriaan compleet, Alphen aan den Rijn: Atrium, ISBN 90-6113-929-5.
• Bock, Manfred, Vincent van Rossem en Kees Somer (2001) Cornelis van Eesteren, architect, urbanist [deel 1], Rotterdam: NAi Publishers, Den Haag: EFL Stichting, ISBN 90-7246-962-3.
• Bonset, I.K. (July 1922) ‘Beeldende verskunst en hare verhouding tot de andere kunsten’, De Stijl, vol. 5, no. 6, pp. 88–89.
• Doesburg, Theo van (October 1917) ‘Ter inleiding’, De Stijl, vol. 1, no. 1, pp. 1–2.
• Doesburg, Theo van (November 1918) ‘Aanteekeningen over monumentale kunst’, De Stijl, vol. 2, no. 1, pp. 10–12.
• Doesburg, Theo van (1919) Drie voordrachten over de nieuwe beeldende kunst, Amsterdam: Maatschappij voor goede en goedkoope lectuur.
• Doesburg, Theo van (March 1920) ‘Aanteekeningen bij de Bijlagen VI en VII’, De Stijl, vol. 3, no. 5, pp. 44–46.
• Doesburg, Theo van (February 1922) ‘Der Wille zum Stil (Neugestaltung von Leben, Kunst und Technik)’, De Stijl, vol. 5, no. 2, pp. 23–32.
• Doesburg, Theo van (March 1922) 'Von den neuen Ästhetik zur materiellen Verwirklichung', De Stijl, vol. 6, no. 1, pp. 10–14.
• Horst Richter. Geschichte der Malerei im 20. Jahrhundert. Köln. 1988
• Engel, Henk (2009) "Theo van Doesburg & the destruction of architectural theory", in: Gladys Fabre en Doris Wintgens Hötte (red.), Van Doesburg & the international avant-garde. Constructing a new world, [London]: Tate Publishing, ISBN 978-1-85437-872-9, pp. 36–45.
• Fabre, Gladys (2009) "A universal language for the arts: interdisciplinarity as a practice, film as a model", in: Gladys Fabre en Doris Wintgens Hötte (red.), Van Doesburg & the international avant-garde. Constructing a new world, [London]: Tate Publishing, ISBN 978-1-85437-872-9, pp. 46–57.
• Frampton, Kenneth (1982) "Neoplasticisme en architectuur: formatie en transformatie", in Mildred Friedman (red.) De Stijl: 1917-1931, Amsterdam: Meulenhoff/Landshoff, ISBN 90-2908-052-3.
• Huszàr, Vilmos (March 1918) ‘Aesthetische beschouwingen III (bij bijlagen 9 en 10)’, De Stijl, vol. 1, no. 5, pp. 54–57. See Digital Dada Archive.
• Jaffé, H.L.C. (1983) Theo van Doesburg, [Amsterdam]: Meulenhoff/Landshoff, ISBN 90-290-8272-0.
• Overy, Paul ([1991] 2000) De Stijl, London: Thames and Hudson, ISBN 0-500-20240-0.
• Mondriaan, Piet (oktober 1917) ‘De nieuwe beelding in de schilderkunst. 1. Inleiding’, De Stijl, vol. 1, no. 1, pp. 2–6.