red-blue armchair is the most compact visual statement of the principles of De
Stijl. Visually separate and discrete, each square-sectioned wooden member
which makes up the structural frame of the chair extends beyond its point of
juncture, probing the space that surround the chair as well as defining the
space that flows freely through it.
Gerrit Rietveld's red-blue
There is no
dovetailing. Where the wooden rails cross they are held together by wooden
pins. The plywood planks of seat and back are fixed to this frame. The
chair discloses its structure as clearly as a skeleton or scaffolding. The
seat is painted blue, the back red. The frame is black with the sawn ends
of each rail painted yellow. Rietveld wrote about the chair. "The
construction is attuned to the parts to insure that no part dominates or is
subordinate to the others. In this way, the whole stands freely and
clearly in space, and the form stands out from the material." r
the Style. Not style as implied in "styling" (car
styling, etc.)-but Style as the integral relationships of the parts to the whole
and of the whole to the parts. "Unity in Plurality" was the
definition of Style given by the Dutch architect H.P. Berlage*
and writings were important influences in the early development of De Stijl.
De Stijl is Dutch fo
Rietveld's Table Lamp 1925*
Rietveld's Table Lamp is made of steel with half-painted glass bulb.
* Rietvelds Red Blue arm chair: Built by Michael D. Koepper,
David G. Schneider, Architect. Photo by David G. Schneider.
* Rietveld's Table Lamp image: reference: www.MoMA.org
the Museum of Modern Art.
* Paul Overy, De Stijl, (London: Studio Vista, USA: Dutton and Co. Inc.,
1969), p. 38.
*Rietveld's Centraal Museum Utrecht 1958 Print
Search Google "Rietveld's Print - Centraal Museum Utrecht Rietveld"