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Gerrit Rietveld

Gerrit Thomas Rietveld (1888–1964) was a Dutch architect and furniture designer whose innovative works exemplified the principles of the De Stijl movement, emphasizing geometric forms, primary colors, and functional simplicity in modern design. Best known for his iconic Red and Blue Chair (1918) and the Rietveld Schröder House (1924), Rietveld bridged furniture craftsmanship and architectural experimentation, influencing 20th-century modernism through his exploration of space, light, and abstraction. His designs rejected ornamentation in favor of industrial materials and open spatial concepts, making him a pivotal figure in the transition from traditional to avant-garde aesthetics.^[1] Born on June 24, 1888, in Utrecht, Netherlands, Rietveld was raised in a family of furniture makers. He received self-taught training through apprenticeships and evening courses in drawing and architecture, shaping his approach to form and function.^[2] Rietveld established his own furniture workshop in 1917 and began designing pieces that evolved from Arts and Crafts influences toward modernist abstraction, culminating in his association with De Stijl starting in 1919. He collaborated closely with movement co-founder Theo van Doesburg, contributing to the group's journal and embodying its ideals of universal harmony through perpendicular lines and color planes.^[2] Transitioning to architecture, Rietveld's Rietveld Schröder House in Utrecht, commissioned by Truus Schröder-Schräder and completed in 1924, stands as a UNESCO World Heritage site for its sliding walls and open-plan interior that blurred indoor-outdoor boundaries.^[3] Over his career, he produced over 100 residential buildings, public structures like the Sonsbeek Pavilion (1954), and the Van Gogh Museum in Amsterdam (completed posthumously in 1973), while also creating more than 350 furniture designs, including the Zig-Zag Chair (1934).^[2] In his later years, Rietveld taught at Dutch academies from the 1940s to 1950s and co-founded the Congrès Internationaux d'Architecture Moderne (CIAM) Dutch section in 1928, advocating for progressive urban planning. He received the Sikkens Prize in 1959 and an honorary doctorate from Delft University of Technology in 1964, shortly before his death on June 25, 1964, in Utrecht.^[4]^[2] Rietveld's legacy endures through institutions like the Gerrit Rietveld Academie and his foundational role in functionalist design, inspiring generations with his commitment to democratizing beauty through accessible, rational forms.^[2]

Early Life and Training

Family Background and Childhood

Gerrit Thomas Rietveld was born on June 24, 1888, in Utrecht, Netherlands, as the second of six children in a working-class family headed by furniture maker Johannes Cornelis Rietveld (1860–1933) and his wife Elisabeth van der Horst (1860–1927).^[2] The family adhered to strict Reformed Protestant values, reflecting the moral rigor of late 19th-century Dutch Calvinism, with Rietveld later recalling the contrast between his mother's appreciation for beauty and his father's emphasis on ethical discipline.^[2] Growing up in Utrecht's modest artisan quarters, Rietveld was immersed from an early age in the rhythms of manual labor and craftsmanship, as his father's small workshop produced traditional wooden furniture for local households.^[2] In the socioeconomic landscape of late 19th-century Netherlands, Rietveld's family exemplified the challenges faced by the urban working class, where industrialization and urbanization strained resources and opportunities. Utrecht, a growing industrial hub, saw many families like the Rietvelds rely on trade skills for survival amid economic pressures from factory competition and housing shortages.^[5] Formal education for working-class children was limited and non-compulsory until the 1901 Elementary Education Act, which mandated schooling from ages 6 to 12; prior to this, many children, including Rietveld, attended basic elementary schools only until around age 11 before entering family trades to contribute to household income.^[6] Rietveld himself completed primary schooling by age 11 in 1899, just as compulsory laws were emerging, highlighting the era's prioritization of economic necessity over extended learning for lower-income families.^[7] Despite these constraints, Rietveld displayed early aptitudes that hinted at his future in design, developing a keen interest in drawing and self-taught geometry during his childhood years. These pursuits, nurtured within the home environment surrounded by woodworking tools and patterns, allowed him to explore spatial relationships and forms intuitively, laying a foundation for his later modernist abstractions.^[2] Such hobbies provided an outlet for creativity in a setting where formal artistic training was inaccessible to working-class youth, foreshadowing Rietveld's innovative approach to structure and proportion.^[2]

Apprenticeship and Early Influences

Gerrit Rietveld began his professional training at the age of 12 in 1900, serving as an apprentice in his father's Utrecht furniture workshop, where he developed foundational skills in cabinetmaking and woodworking.^[2] This hands-on experience laid the groundwork for his later innovations, emphasizing practical craftsmanship over formal education. By 1906, Rietveld transitioned to more specialized training, working as a draftsman at the jewelry studio of C.J. Begeer in Utrecht while attending evening classes in drawing from 1906 to 1911.^[1] These roles exposed him to precise technical illustration and design principles, bridging his carpentry background with emerging architectural concepts. Complementing his structured apprenticeships, Rietveld pursued self-directed learning in architecture through courses with architect P.J.C. Klaarhamer during his time at Begeer.^[2] ^[8] Around 1911, Rietveld discovered the rationalist architecture of Hendrik Petrus Berlage, whose emphasis on structural honesty and material clarity resonated deeply with his own evolving philosophy.^[8] Berlage's works, such as the Amsterdam Stock Exchange, served as a pivotal influence, encouraging Rietveld to integrate modernist principles into his craft and foreshadowing his shift toward innovative furniture and architectural forms.^[8] This intellectual encounter, combined with his practical training, marked the culmination of Rietveld's formative years, transforming him from a skilled artisan into a forward-thinking designer.

Furniture Design Career

Establishment of Workshop

In 1917, at the age of 29, Gerrit Rietveld established his own joinery workshop on Adriaen van Ostadelaan in Utrecht, marking his independence from previous apprenticeships and family business.^[2] This venture allowed him to apply his carpentry skills to independent production, transitioning from collaborative work to leading his own operations.^[9] The workshop initially concentrated on crafting custom furniture for local Utrecht clients, emphasizing practical and functional items such as cabinets and storage pieces tailored to everyday needs.^[2] These commissions provided a steady, albeit modest, income stream, reflecting Rietveld's roots in traditional joinery while serving the regional market's demand for reliable domestic furnishings. Early designs included practical items like an oak cabinet made in 1911 for his marriage, blending traditional craftsmanship with emerging abstraction.^[10]^[1] Operating during the final years of World War I, the business faced significant challenges, including acute material shortages that affected wood supplies and overall production capacity in neutral but economically strained Netherlands.^[2] Despite these constraints, Rietveld began gradually integrating geometric abstraction into his designs, drawing inspiration from his early readings on Cubism, which encouraged a shift toward simplified forms and structural innovation.^[2] This evolution laid the groundwork for his later modernist experiments, even as wartime limitations enforced resourcefulness in construction techniques.^[11]

Iconic Furniture Pieces

One of Gerrit Rietveld's most influential designs is the Red and Blue Chair, developed between 1917 and 1918 with the iconic color scheme applied around 1923. Constructed from painted wood using standard lumber dimensions, the chair features a deconstructed form composed of intersecting rectilinear planes—slats for the back, seat, and supports—that expose the joinery and eliminate superfluous elements, emphasizing structural honesty. This design translates De Stijl principles into three dimensions through the use of primary colors (red, blue, and yellow) alongside black accents, creating an asymmetrical composition that prioritizes harmonic order and spiritual renewal over conventional comfort.^[12] The Berlin Chair, designed in 1923 for an exhibition in Berlin, marks Rietveld's exploration of asymmetry in seating and further embodies De Stijl's minimalist ethos with its system of horizontal and vertical oak slats painted in black, white, and gray tones. Comprising eight separate planks joined without ornate hardware, the chair discards traditional legs, arms, and padded surfaces in favor of a balanced, open framework that highlights pure geometric lines and spatial interplay. Its avant-garde form reflects Rietveld's commitment to reducing furniture to essential elements, promoting universality and abstraction in everyday objects.^[13] In 1934, Rietveld introduced the Zig-Zag Chair, a cantilevered structure formed by four flat wooden boards—typically beech or elm—articulated in a Z-shape and connected via dovetail joints or bolts, eschewing legs or upholstery for a sculptural, self-supporting profile. This piece advances De Stijl's emphasis on planar composition and material purity, with the diagonal supports evoking dynamic tension while maintaining stability through precise engineering. The design's simplicity allows for potential mass production, yet it retains a handmade quality that underscores Rietveld's innovative approach to form and function.^[14] Across these pieces, Rietveld employed primary colors and asymmetrical arrangements to manifest De Stijl's neoplasticist ideals in furniture, transforming static objects into expressions of universal harmony and spatial rhythm. Initially handcrafted in his Utrecht workshop using local woods and exposed fastenings, production remained limited to small editions during the interwar period, with industrialization and licensing to firms like Cassina occurring only after World War II to broaden accessibility.^[12]^[14]^[13]

Architectural Contributions

Transition to Architecture

Rietveld's transition from furniture design to architecture began in the late 1910s, as he applied the spatial principles and construction techniques honed in his workshop to building facades and interiors. Lacking formal architectural training beyond evening courses in drawing and technical subjects, he viewed architecture as an extension of furniture-making, emphasizing open volumes and modular elements rather than ornamental details. This shift was catalyzed by commissions for commercial renovations in Utrecht, where he experimented with integrating three-dimensional compositions into urban contexts.^[15]^[1] His first significant architectural commission came in 1919 with the redesign of the Begeer jewelry store facade in Utrecht, where Rietveld used layered wooden slats and geometric framing—techniques reminiscent of his furniture prototypes—to create a dynamic storefront that blurred the boundary between interior display and street view. These early works demonstrated Rietveld's innovative approach but were limited in scope due to his status as a self-taught craftsman, which restricted access to larger projects.^[15] A pivotal collaboration emerged in 1923 with Truus Schröder-Schräder, a widowed art enthusiast and De Stijl supporter, who commissioned Rietveld to design elements for her home and actively pushed for radical open-plan layouts by insisting on the removal of dividing walls from his initial sketches. Rietveld embraced her ideas enthusiastically, responding that such changes would create expansive, adaptable spaces, which profoundly influenced his evolving architectural philosophy and encouraged further experimentation in fluid spatial organization. This partnership not only provided creative validation but also introduced Rietveld to modernist ideals of domestic flexibility, bridging his furniture background with broader architectural ambitions.^[16] Around 1920, Rietveld's designs increasingly incorporated flat-roofed structures and strategies for integrating interior and exterior spaces, inspired by De Stijl's emphasis on planar abstraction and continuity. In these early experiments, he used large glazing and cantilevered elements to dissolve spatial barriers, allowing natural light and views to extend living areas outward, as seen in preliminary sketches and facade treatments that prefigured his later residential works. This focus on seamless transitions reflected a conceptual pivot toward architecture as a dynamic environment rather than static enclosure.^[3] Despite these innovations, Rietveld faced significant challenges in securing architectural recognition, stemming primarily from his absence of formal credentials and reliance on practical experience from his furniture workshop. Trained only through apprenticeships and self-study, he was often dismissed by established professionals as an outsider, limiting commissions to renovations and small-scale interventions until the mid-1920s. This lack of institutional validation delayed his broader impact, though his persistent experimentation ultimately positioned him as a key figure in modernist architecture.^[1]^[17]

Key Architectural Projects

Rietveld's most renowned architectural project is the Schröder House, completed in 1924 in Utrecht for client Truus Schröder-Schräder.^[18] This two-story structure exemplifies his innovative approach to spatial flexibility, with the upper floor featuring an open plan divided by sliding walls that could be reconfigured to create living rooms, bedrooms, or unified spaces, allowing the interior to adapt to the occupants' needs.^[3] The design emphasizes the interplay of horizontal and vertical elements, primary colors on structural components, and a seamless connection between interior and exterior through large windows and balconies, challenging conventional domestic architecture.^[3] Recognized for its pioneering role in modernist design, the house was designated a UNESCO World Heritage Site in 2000.^[18] Among his later works, the Rietveld Pavilion stands out as a temporary structure designed in 1955 for the Third International Sculpture Exhibition in Arnhem's Sonsbeek Park, intended to display small sculptures in an open-air setting.^[19] Constructed from simple concrete, wood, steel, reed, and glass elements arranged in a grid of horizontal and vertical lines, it created semi-enclosed spaces that integrated with the landscape while providing shelter and framing for artworks.^[20] Dismantled after the event, it was rebuilt in 1964–1965 in the Kröller-Müller Museum's sculpture garden, where it continues to serve as an exhibition pavilion.^[19] In the 1950s and 1960s, Rietveld contributed several buildings to the Eindhoven University of Technology campus, including the Student Sports Center designed between 1960 and 1963.^[21] Positioned as a "pavilion in the green" along the Dommel River, this structure features Rietveld's characteristic modular composition and integration with the natural surroundings, though it was completed posthumously in 1965.^[22] He also undertook extensions to town halls and other public buildings during this period, applying his functionalist principles to enhance civic spaces with efficient, light-filled designs. Following the 1930s, Rietveld increasingly incorporated prefabrication and modular elements into his architecture, particularly in residential and social housing projects.^[23] His row houses on Erasmuslaan in Utrecht (1930 and 1934) utilized standardized concrete slabs and modular dimensions for cost-effective construction, allowing for repetitive yet adaptable units that prioritized light and airiness.^[24] This approach extended to post-war works, where prefabricated components enabled rapid assembly and spatial efficiency, as seen in experimental housing blocks that emphasized industrialized building methods without sacrificing formal innovation.^[25]

Involvement in Art Movements

Role in De Stijl

Gerrit Rietveld joined the De Stijl movement in 1919, following his encounter with founder Theo van Doesburg, who recognized the designer's innovative furniture as aligning with the group's aesthetic principles.^[26]^[27] Van Doesburg subsequently published Rietveld's "Slatted Chair" in the De Stijl journal, marking the designer's formal integration into the collective and highlighting his role in extending the movement's ideals beyond painting.^[28] Rietveld's contributions exemplified neoplasticism, De Stijl's core theory of abstraction through horizontal and vertical lines, primary colors (red, yellow, blue), and non-representational forms, which he applied practically in both furniture and architecture to achieve universal harmony.^[29] In pieces like the Red and Blue Chair (1918–1923), he deconstructed everyday objects into geometric components painted in primary hues, emphasizing open space and modularity over ornamentation.^[12] His architectural work, such as the Schröder House (1924), further embodied these principles with its rectilinear facade and flexible interior partitions, creating a total environment that blurred boundaries between art and living spaces.^[30] Rietveld actively collaborated on De Stijl initiatives, including the 1923 exhibition at Berlin's Juryfreie Kunsthau, where he partnered with painter Vilmos Huszár to design a model room as a fully neoplastic interior, integrating furniture, walls, and lighting to demonstrate the movement's vision.^[31] These efforts fueled ongoing debates within De Stijl about embedding abstract art into daily life, promoting a utopian aesthetic that could unify society through simplified, functional design accessible to all.^[32] By 1928, Rietveld departed from De Stijl amid ideological tensions, as his growing emphasis on functionalism diverged from the group's evolving abstract purism, particularly van Doesburg's introduction of diagonal elements in elementarism.^[33]

Engagement with Nieuwe Zakelijkheid

Around 1927, Gerrit Rietveld began adopting the principles of Nieuwe Zakelijkheid, the Dutch manifestation of New Objectivity, which emphasized functional simplicity, utility, and the rejection of ornamental excess in favor of rational, purpose-driven design. This shift was notably influenced by Dutch functionalists such as J.J.P. Oud, with whom Rietveld had collaborated earlier on interior designs for Oud's Spangen housing project in Rotterdam in 1920, and by broader international trends from German architects promoting industrialized construction methods.^[2]^[34] Rietveld's engagement marked a departure from the more abstract, artistic ideals of De Stijl, toward a pragmatic approach oriented toward social housing and everyday utility. Key projects from this period exemplified Rietveld's embrace of Nieuwe Zakelijkheid's sobriety and efficiency. In 1927, he designed the Garage with Driver's House on Waldeck Pyrmontkade in Utrecht, an early experiment in prefabricated components and industrial techniques that prioritized straightforward functionality over aesthetic flourish. By the 1930s, this evolved into housing designs such as the Erasmuslaan terrace houses in Utrecht (1930–1931), featuring modular layouts and unadorned facades to support communal living, and a block of four row houses for the Werkbund Siedlung in Vienna (1930), which demonstrated his focus on affordable, scalable residential forms.^[24]^[1] Rietveld actively advocated for Nieuwe Zakelijkheid through his writings and participation in international forums, promoting architecture that was mass-producible and accessible to the working class. In his 1932 essay "Nieuwe zakelijkheid in de Nederlandsche architectuur," published in De Vrije Bladen, he equated the movement with "international architecture" and stressed the need for economical, industrialized building to lower costs and improve living conditions. From 1928 onward, as a co-founder of the Congrès Internationaux d'Architecture Moderne (CIAM), Rietveld contributed to discussions on rational urban planning and social housing at congresses, including the inaugural meeting in La Sarraz, Switzerland, reinforcing his commitment to utility-driven design.^[35]^[23]^[36] This alignment introduced tensions with De Stijl's idealistic purity, as Rietveld's practice became increasingly socially oriented, focusing on practical solutions for mass needs rather than universal artistic harmony, a pivot that defined his interwar contributions.^[34]^[37]

Later Career and Revival

Post-War Developments

Following World War II, Gerrit Rietveld played a significant role in the Netherlands' architectural reconstruction, focusing on practical designs for public buildings amid severe material shortages and rationing that persisted into the early 1950s. His early post-war efforts included commissions for educational and administrative structures, such as the Art Academy in Amsterdam, initiated in 1950 and emphasizing prefabricated elements to address resource constraints. These projects reflected a pragmatic adaptation of his pre-war functionalism to the demands of rebuilding, prioritizing efficiency and modularity in schools and offices to support societal recovery.^[38] From 1944 to 1955, Rietveld taught at the Academy of Architecture in Amsterdam, where he profoundly influenced a generation of students by imparting his principles of spatial dynamics and modernist simplicity. His pedagogy encouraged experimental approaches to form and function, fostering innovations in design education that extended his De Stijl legacy into post-war modernism. Through workshops and critiques, he guided emerging architects toward integrating everyday materials with conceptual clarity, shaping the curriculum's emphasis on interdisciplinary creativity.^[2] Rietveld's post-war experimentation extended to new materials like concrete and steel, evident in structures such as the De Ploeg textile factory in Bergeijk (1956–1958), which featured innovative shell roofs for industrial efficiency. A notable example is the Netherlands Pavilion at Expo 58 in Brussels (1958), where he employed concrete frames and steel elements to create an open, adaptable exhibition space that highlighted Dutch engineering amid international modernism. These works demonstrated his evolving technical prowess in response to industrial needs.^[38]^[39] In his later career, Rietveld shifted from rigid geometric forms toward more organic integrations with the environment, as seen in the Sonsbeek Pavilion (1955), which used fluid spatial arrangements to blend architecture with landscape. This divergence marked a maturation of his style, incorporating natural light and site-specific adaptations in projects like the Zonnehof residence in Amersfoort (1958–1959), prioritizing harmony over strict abstraction. Such developments underscored his adaptability in the evolving post-war architectural discourse.^[38]

De Stijl Revival Efforts

In the early 1950s, Gerrit Rietveld actively contributed to the revival of De Stijl principles by designing the installation for a major retrospective exhibition at the Stedelijk Museum in Amsterdam. Organized by Dutch scholars and former De Stijl members under the auspices of the Dutch government, the 1951 exhibition showcased key works embodying neoplasticism's emphasis on geometric abstraction, primary colors, and spatial harmony, with Rietveld's modular display system facilitating dynamic viewer interaction with the artifacts. This effort marked a deliberate revisit to the movement's core tenets amid post-war architectural shifts, and the exhibition traveled to the Venice Biennale in 1952 before reaching the Museum of Modern Art in New York from December 1952 to February 1953, where Rietveld's design was retained to underscore the enduring relevance of De Stijl aesthetics.^[27]^[40] Rietveld extended these revival initiatives into practical, site-specific projects in the early 1960s, adapting De Stijl's abstraction for contemporary public environments. In 1961, at the invitation of Kröller-Müller Museum director A.M. Hammacher, he created concrete prototypes for park benches in the museum's newly established sculpture garden, drawing on neoplasticist motifs through stark geometric lines, asymmetrical compositions, and functional minimalism akin to his earlier De 8 chair series. Installed in 1962, these benches integrated abstract form with utilitarian purpose, exemplifying Rietveld's aim to update De Stijl for outdoor communal spaces while preserving its philosophical emphasis on universal harmony.^[41] Complementing these efforts, Rietveld's pavilion—originally designed in 1955 for the Third International Sculpture Exhibition at Sonsbeek Park in Arnhem—embodied a neo-De Stijl approach with its open, modular framework of horizontal and vertical planes, allowing fluid transitions between interior and exterior. Reconstructed in the Kröller-Müller Museum's sculpture garden in 1965 shortly after his death, the structure facilitated the display of abstract sculptures in a manner that echoed the movement's ideals of spatial continuity and democratic access to art.^[19] Throughout the decade, Rietveld engaged in writings that defended De Stijl's applicability against emerging trends like brutalism, arguing in essays and exhibition prefaces for the movement's timeless relevance in fostering clarity and universality in design. These publications, often tied to institutional retrospectives, positioned neoplasticism as a counterpoint to heavier, material-focused postwar styles, influencing younger practitioners to explore abstracted forms in urban and public contexts.^[33]

Death and Legacy

Final Years and Death

In the later years of his life, Gerrit Rietveld continued to balance his architectural practice with personal commitments, having married nurse Vrouwgien Hadders in 1911, with whom he had six children born between 1913 and 1922.^[2] Following Vrouwgien's death in 1957, Rietveld relocated to the Rietveld Schröder House in Utrecht, where he lived with Truus Schröder-Schräder, his longtime collaborator and friend, until his passing; this arrangement provided both emotional and financial support during his final years.^[2] Rietveld remained active in design into the early 1960s, completing several significant commissions despite the challenges of advancing age. One of his last projects was the design for the De Hoeksteen Church in Uithoorn, a Protestant church center commissioned in 1960 by the Dutch Reformed Church, featuring innovative use of parana pine pews and painted steel elements that reflected his enduring commitment to functional modernism.^[42] The structure, built in the style of Het Nieuwe Bouwen, was realized posthumously in 1964, serving as a testament to his late-career focus on community spaces.^[43] Rietveld died on June 25, 1964, in Utrecht's Rietveld Schröder House, just one day after his 76th birthday, marking the end of a prolific career that spanned furniture, architecture, and art movements.^[2] His passing was mourned within the architectural community, underscoring his influence on modern design.

Recognition and Enduring Influence

Rietveld received several prestigious honors during his later career, including appointment as an Officer in the Order of Orange-Nassau in 1954 for his contributions to architecture and design.^[44] In 1959, he was awarded the inaugural Sikkens Prize by the Sikkens Foundation, recognizing his entire body of work for its innovative use of color and form in architecture.^[45] He became an honorary member of the Bond van Nederlandse Architecten (BNA), the Dutch Association of Architects, and in 1964, he was granted an honorary doctorate by Delft University of Technology shortly before his death.^[2] His works garnered significant critical acclaim, particularly the Rietveld Schröder House, which was designated a UNESCO World Heritage Site in 2000 as an icon of the Modern Movement and a prime example of De Stijl principles in architecture.^[18] Rietveld's furniture designs have been widely acquired by major museums globally, including the Zig Zag Chair at The Metropolitan Museum of Art, an armchair at the Victoria and Albert Museum, and the Zig Zag Chair at the Milwaukee Art Museum, underscoring their status as modernist masterpieces.^[46]^[47]^[48] Rietveld's emphasis on geometric simplicity, functionalism, and open spatial planning profoundly influenced mid-century modern designers, including Charles and Ray Eames, whose plywood furniture echoed his modular and material-efficient approaches, as noted in comparative analyses of their parallel practices.^[49] In Dutch postwar architecture, his role as a sought-after designer for social housing projects in the 1950s, such as the model homes for cooperative developments, helped shape a national emphasis on modest, adaptable built environments that prioritized community and efficiency.^[50]^[38] Rietveld's designs served as precursors to sustainable architecture through their use of local, natural materials like brick, wood, and plaster, combined with compact floor plans that minimized resource consumption while maximizing spatial flexibility, principles that anticipated later ecological design strategies.^[51] Post-2000 scholarly efforts have included digital reconstructions of his works, such as the 2018-2019 3D modeling of the UNESCO Press Room (1958) to analyze original color schemes and reconstruction possibilities, enhancing understanding of his color and form innovations.^[52]

References

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Neo-Plasticism Movement Overview | TheArtStory
Jul 31, 2017 · The best-known representation of De Stijl architecture, the Rietveld Schröder House embodies Neo-Plastic form and utopian aspirations. Using ...
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De Stijl, Part III: The Total De Stijl Environment - Smarthistory
The best-known example of a total De Stijl environment is Gerrit Rietvelt's Schröder House (1924). Commissioned by Truus Schröder, a recently widowed mother of ...Missing: biography credible sources
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https://www.theartstory.org/movement/de-stijl/
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de Stijl | MoMA
A term describing the abstraction pioneered by the Dutch journal De Stijl (The Style), founded in 1917 by the painter and architect Theo van Doesburg.
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De Stijl Movement Overview | TheArtStory
Nov 22, 2011 · Gerrit Rietveld said, "We must remember that sit is a verb too." In ... Adopting the visual elements of Cubism and Suprematism, the ...
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Rietveld and Nieuwe Zakelijkheid in Architecture - ResearchGate
This chapter investigates Rietveld's position in the evolution from zakelijke to Nieuw-Zakelijke architecture in Dutch and international context and in ...Missing: engagement | Show results with:engagement
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Gerrit Rietveld's Red and Blue Chair: Seeing Experiments in Space
Gerrit Rietveld (Dutch, 1888–1964), Gerrit Rietveld (Dutch, 1888–1964) ... Rob Dettingmeijer, Maria Theresia Antoinette Van Thoor, and Ida Van Zijl, 36–47.
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Rietveld | METALOCUS
At the age of eleven he began to work with wood as an apprentice in the carpentry workshop of his father, Johannes Cornelis Rietveld, from whom he gained the ...Missing: early | Show results with:early
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gerrit-rietveld - i-vintage
Rietveld broke with De Stijl in 1928 and became associated with a more functionalist style of architecture, known as either Nieuwe Zakelijkheid or Nieuwe Bouwen ...Missing: coffee shop
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Post-war Buildings - Rietveld Stichting
Rietveld described: 'Sonsbeek Pavilion, a sculpture pavilion in the Sonsbeek garden in Arnhem. This was intended as a temporary building. And I used also ...
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Expo 58 - Fondation Constant
For the World Exhibition 1958 in Brussel, aka Expo 58 the Dutch pavillion was designed by Gerrit Rietveld and presented a broad choice of his colorful ...
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Making History: De Stijl at the Stedelijk Museum
Mar 8, 2018 · The history of De Stijl could arguably be said to reside in the strikingly beautiful objects that the movement produced, including many important paintings, ...
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Farewell with a view to the future - Kröller-Müller Museum
In late 1962, the architects Sam van Embden and Willem van Tijen come up with an initiative to rebuild the Rietveld Pavilion, which was part of the Sonsbeek ...
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Gerrit Rietveld - Exhibitions - Peter Blum Gallery, New York
Throughout his life he designed furniture which - fulfilling the ideals of the De Stijl movement - also functioned as sculpture (for example the Red Blue Chair ...
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Gerrit Rietveld. Pew for Cornerstone Church. 1963 - MoMA
Gerrit Rietveld Pew for Cornerstone Church 1963. Not on view. Manufacturer: H.H. de Boer and Son, Bergum, The Netherlands. Medium: Parana pine and painted steel.Missing: Catholic Hilversum
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Category:Gerrit Rietveld - Wikimedia Commons
Apr 12, 2024 · Rietveld Schröder House · Red and Blue Chair; Press room. Award received. Sikkens Prize (1959); Officer of the Order of Orange-Nassau (1954) ...
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Gerrit Rietveld - Sikkens Prize
This was reflected, amongst other things, in a number of exhibitions and recent studies: in 1951 the Stedelijk Museum in Amsterdam devoted a retrospective ...
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Gerrit Rietveld - Zig Zag Stoel - The Metropolitan Museum of Art
Composed of four flat wood boards articulated end to end to form a Z-shape, Rietveld's chair rejects conventional chair features: two arms, four legs, ...
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Armchair | Groenekan, Gerard A. van der | Rietveld, Gerrit
May 1, 2001 · Although reproductions of two Rietveld chairs were acquired by the V&A's Circulation Department, it was only in 1987 that the museum purchased ...
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Modernity supplies international museums
This time the famous Zig Zag chair by Gerrit Rietveld sold to the Milwaukee Art Museum in the US. The National Museum of Scotland has also recently purchased ...Missing: acquisitions worldwide
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Lives lived in parallel - Financial Times
Apr 5, 2013 · Like Rietveld, Charles and his wife Ray Eames were also known more for their furniture than their buildings (their reclining plywood-and ...
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SPECIAL – Dutch Delights! - Iconic Houses
Architect Gerrit Rietveld designed a modernist house for the Van Daalen family in a village in the south of the Netherlands near the former weaving factory De ...
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AD Classics: Rietveld Schroder House / Gerrit Rietveld | ArchDaily
Dec 29, 2010 · Completed in 1925 in Utrecht, The Netherlands. Still as visionary and eccentric as it was when it was built in the 1920s, the Schroder House ...
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Gerrit Rietveld's UNESCO Pressroom, 1958 - 4D Research Lab
Tijm Lanjouw & Santje Pander, forthcoming. 3D modelling and colour simulation as a tool to evaluate reconstruction possibilities of Rietveld's UNESCO Press Room ...