i is a chair designed in 1917 by Gerrit Rietveld. It represents one of the first explorations by the De Stijl art movement in three dimensions. The original chair was constructed of unstained beech wood and was not painted until the early 1920s. [1] Fellow member of De Stijl and architect, Bart van der Leck, saw his original model and suggested that he add bright colours. [2] He built the new model of thinner wood and painted it entirely black with areas of primary colors attributed to De Stijl movement. The effect of this color scheme made the chair seem to almost disappear against the black walls and floor of the Schröder house where it was later placed. [3] The areas of color appeared to float, giving it an almost transparent structure. The Museum of Modern Art, which houses the chair in its permanent collection, a gift from Philip Johnson, states that the red, blue,and yellow colors were added around 1923. [5] The chair also resides at the High Museum of Art, Atlanta.

[6] It features several Rietveld joints. The Red and Blue Chair was reported to be on loan to the Delft University of Technology Faculty of Architecture as part of an exhibition. On May 13, 2008, a fire destroyed the entire building, but the Red and Blue Chair was saved by firefighters. As of 2012, it resides in the Minneapolis Institute of Arts in Minneapolis, Minnesota[ ]. As of 2013, it has been moved to Auckland, New Zealand[ ]. ^ TU Delft fire news storyRed Blue Chair 1918 (Rood Blauwe Stoel) made by G. van di Groenekan Designed by Gerrit Thomas Rietveld Modernist Furniture Design Profile The Red Blue chair is probably one of the most recognized pieces from the Modern Movement of De Stijl Design. Each piece of the chair is either square or rectangular section, and this is highlighted by the use of yellow on the piece ends. The red back piece acts as the spine of the chair and all the “limbs” are connected, the sloping back blue seat and the black arms and legs.

This is furniture design at it’s raw state, stripped back to basic structural form. Rietveld viewed aesthetics over functionalism. (In other words it was very uncomfortable, but looked good!) His design concepts were influenced by Piet Mondrian, geometric ordering of space derived from cubism and the use of the rectilinear designs of Frank Lloyd Wright.pc gaming chair with keyboard and mouse The Red Blue Chair”s popularity tends to come from its sculptural appearance as a work of art, probably helped by the use of color Rietveld used from the painters of the De Stijl group. buy original barcelona chairPiet Mondrian and Theo van Doesburg who championed primary colors, as well as the fact that you could look through it.where to buy mismatched dining chairs

About the Designer Brief biography of his career history. Further Resources on the Designer Web sites and books More Gerrit Rietveld Furniture Designs End Table – Gerrit Rietveld A colorful piece of art rather than functional furniture. Zig Zag Chair – Gerrit Rietveld New cantilever design in it’s time.office chair for sale in sri lankaGerrit Rietveld (1888-1964), a Dutch furniture designer and architect, created his Red-Blue Chair in 1917, but the bright colours and, indeed the name by which it became known, were not adopted until several years later.wedding chair covers denver Originally made in plain beech wood, the design was deliberately kept as simple as possible because Rietveld wanted it to be mass-produced rather than crafted by hand. second hand table and chairs for sale in hull

The pieces of wood that are used are all in the standard measurements of lumber that was available at the time. Two years after making the chair, Rietveld joined the De Stijl movement and it was under the auspices of its most famous member, Piet Mondrian, that, in 1923, the chair was painted in the distinctive colours of red, yellow, blue and black. The De Stijl movement was founded in 1917 and its members believed in pure abstraction by reducing pieces to their essential forms and pure colours. Furniture was simplified to horizontal and vertical lines and they used only the primary colours with black and white. The movement reached its apotheosis between 1923-24, when Rietveld designed a house for Dutch socialite Truus Schröder and her three children in Utrecht, Netherlands. The Rietveld Schröder House, as it became known, is the only building to have been made completely according to the De Stijl movement’s principles. Schröder, who was closely involved in the design, requested the house be made without interior walls as she wanted a connection between the inside and outside.

There was an open-plan layout downstairs, while upstairs could be divided by a system of sliding and revolving panels giving almost endless permutations to the space. The Rietveld chair fitted in perfectly and appeared to float on the black floors. Schröder lived there until her death in 1985 and the house was later opened as a museum. It has been a Unesco World Heritage Site since 2000 and was depicted on a euro coin issued by the Royal Dutch Mint earlier this year."We speak of concrete and not abstract painting because nothing is more concrete, more real than a line, a color, a surface." The Netherlands-based De Stijl movement embraced an abstract, pared-down aesthetic centered in basic visual elements such as geometric forms and primary colors. Partly a reaction against the decorative excesses of , the reduced quality of De Stijl art was envisioned by its creators as a universal visual language appropriate to the modern era, a time of a new, spiritualized world order. Led by the painters and - its central and celebrated figures - De Stijl artists applied their style to a host of media in the fine and applied arts and beyond.

Promoting their innovative ideas in their journal of the same name, the members envisioned nothing less than the ideal fusion of form and function, thereby making De Stijl in effect the ultimate style. To this end, De Stijl artists turned their attention not only to fine art media such as painting and sculpture, but virtually all other art forms as well, including industrial design, typography, even literature and music. De Stijl's influence was perhaps felt most noticeably in the realm of architecture, helping give rise to the of the 1920s and 1930s. Composition A Read More ... De Stijl Artworks in Focus: In 1917, founded the contemporary art journal De Stijl as a means of recruiting like-minded artists in the formation of a new artistic collective that embraced an expansive notion of art, infused by utopian ideals of spiritual harmony. The journal provided the basis of the De Stijl movement, a Dutch group of artists and architects whose other leading members included , and .

Adopting the visual elements of and , the anti-sentimentalism of , and the Neo-Platonic mathematical theory of M. H. J Schoenmaekers, a mystical ideology that articulated the concept of "ideal" geometric forms, the exponents of De Stijl aspired to be far more than mere visual artists. At its core, De Stijl was designed to encompass a variety of artistic influences and media, its goal being the development of a new aesthetic that would be practiced not only in the fine and applied arts, but would also reverberate in a host of other art forms as well, among them architecture, urban planning, industrial design, typography, music, and poetry. The De Stijl aesthetic and vision was formulated in large response to the unprecedented devastation of World War I, with the movement's members seeking a means of expressing a sense of order and harmony in the new society that was to emerge in the wake of the war. De Stijl was the first-ever journal devoted to abstraction in art, although the movement's artists were not the first to practice abstract art;

other painters, perhaps most notably , and , had earlier created nonobjective art, often incorporating geometric forms in their work. But the artists and architects associated with De Stijl - painters such as , and , and architects such as and - adopted what they perceived to be a purer form of geometry, consisting of forms made up of straight lines and basic geometric shapes (largely rendered in the three primary colors); these motifs provided the fundamental elements of compositions that avoided symmetry and strove for a balanced relationship between surfaces and the distribution of colors. In Neo-Plasticism in Pictorial Art, Mondrian explained: "As a pure representation of the human mind, art will express itself in an aesthetically purified, that is to say, abstract form. The new plastic idea cannot, therefore, take the form of a natural or concrete representation." Neo-Plasticism refers to the painting style and ideas developed by Piet Mondrian in 1917, promoted by De Stijl. Denoting the "new plastic art," or simply "new art," the term embodies Mondrian's vision of an ideal, abstract art form he felt was suited to the modern era.

Mondrian's essay Neo-Plasticism in Pictorial Art, which set forth the principles of the concept, was published in twelve installments of the journal De Stijl in 1917-18. Mondrian described Neo-Plasticism as a reductive approach to artmaking that stripped away traditional elements of art, such as perspective and representation, utilizing only a series of primary colors and straight lines. Mondrian envisioned that the principles of Neo-Plasticism would be transplanted from the medium of painting to other art forms, including architecture and design, providing the basis of the transformation of the human environment sought by De Stijl artists. In Mondrian's words, a "pure plastic vision should build a new society, in the same way that in art it has built a new plasticism." The concept of Neo-Plasticism was largely inspired by M. H. J. Schoenmaekers's treatise Beginselen der Beeldende Wiskunde (The Principles of Plastic Mathematics), which proposed that reality is composed of a series of opposing forces - among them the formal polarity of horizontal and vertical axes and the juxtaposition of primary colors.

De Stijl Overview Continues Neo-Plasticism was later promoted by the movement Cercle et Carre and three issues of its eponymous journal appearing in 1930. Following Mondrian's visit to the U.S. in 1940, the style spread to the U.S., where it was taken up by various American abstract artists. While only horizontal and vertical lines were to be utilized in Neo-Plasticism, in 1925, van Doesburg developed Elementarism, which attempted to modify the dogmatic nature of the style by introducing the diagonal, a form that for him connoted dynamism - "a state of continuous development." In "Painting and Sculpture: Elementarism (Fragment of a Manifesto)," published in De Stijl in 1927, he wrote: "If all our physical movements are already based upon Horizontal and Vertical, it is only an emphasis of our physical nature, of the natural structure and functions of organisms if the work of art strengthens - although in an 'artistic manner' - this natural duality in our consciousness." Prizing horizontal and vertical lines for their connotation of stability, Mondrian strongly disagreed with van Doesburg's newfound emphasis on the diagonal--a disagreement that famously prompted Mondrian to secede from De Stijl shortly thereafter.

For Mondrian, van Doesburg's introduction of the diagonal amounted to artistic heresy; in Mondrian's view, the Elementarist diagonal repudiated De Stijl's efforts to fully integrate all the elements of the painting by creating tension between the composition and the picture plane. De Stijl-inspired architecture, particularly by Rietveld and Oud, was built in the Netherlands throughout the 1920s, all of which, interestingly enough, seemed to defy van Doesburg's theory of Elementarism, instead utilizing clearly defined horizontal and vertical lines. De Stijl also had a major influence on architecture and design; several members of De Stijl taught at the Bauhaus, perhaps most importantly van Doesburg, who lectured there in 1921-22. De Stijl's geometric visual language, along with its architectural concepts such as form following function and the emphasis on structural components, would reverberate in Bauhaus architectural practice, as well as the global idiom known as the "International Style."