The document provides biographical information about Theo van Doesburg (1883-1931), a Dutch painter, writer, designer, art critic, and founder of the De Stijl art movement. It notes that he was born in Utrecht, Netherlands and influenced various artistic fields through his work with De Stijl and as an art critic. He died in Davos, Switzerland in 1931.

1. Theo Van Doesberg
Born August 30, 1883 in Utrecht, Netherlands
Painter. Writer. Designer. Art critic.
Influenced industrial design, typography, architecture,
literature and music.
Died March 7, 1931 in Davos, Switzerland
Photographed in Cafe L’Aubette. 1927.

2. c. 1915
With the mobilization of
Dutch forces, he was
sent to Tillburg near the
Belgium front in WWI.

3. c. 1915
With the mobilization of
Dutch forces, he was
sent to Tillburg near the
Belgium front in WWI.

4. c. 1915
With the mobilization of
Dutch forces, he was
sent to Tillburg near the
Belgium front in WWI.

5. c. 1915
With the mobilization of
Dutch forces, he was
sent to Tillburg near the
Belgium front in WWI.

6. c. 1915
With the mobilization of
Dutch forces, he was
sent to Tillburg near the
Belgium front in WWI.

7. c. 1915
With the mobilization of
Dutch forces, he was
sent to Tillburg near the
Belgium front in WWI.

8. Piet Mondrian. Composition ii in red, blue and
yellow. 1930.

9. Piet Mondrian. Composition ii in red, blue and
yellow. 1930.
Theo van Doesburg. Counter composition xiv. 1925.

10. 1917-1931 van Doesburg published and edited De Stijl magazine.

11. De Stijl
A collectivist, Dutch art movement that
influenced art internationally through the 1920s.
Committed to a unity of the arts, it appealed to
fine artists, designers and architects because it
sought an objective abstraction through primary
color schemes and geometric shapes.
The movement also had utopian ideals of unity
and universal visual language, likely a response
to beginning of WWI and a reflection of Western
European neutrality.
De stijl postcard. 1920.

12. De Stijl
A collectivist, Dutch art movement that
influenced art internationally through the 1920s.
Committed to a unity of the arts, it appealed to
fine artists, designers and architects because it
sought an objective abstraction through primary
color schemes and geometric shapes.
The movement also had utopian ideals of unity
and universal visual language, likely a response
to beginning of WWI and a reflection of Western
European neutrality.

13. De Stijl
A collectivist, Dutch art movement that
influenced art internationally through the 1920s.
Committed to a unity of the arts, it appealed to
fine artists, designers and architects because it
sought an objective abstraction through primary
color schemes and geometric shapes.
The movement also had utopian ideals of unity
and universal visual language, likely a response
to beginning of WWI and a reflection of Western
European neutrality.
De stijl journal cover. 1917.

14. De Stijl
A collectivist, Dutch art movement that
influenced art internationally through the 1920s.
Committed to a unity of the arts, it appealed to
fine artists, designers and architects because it
sought an objective abstraction through primary
color schemes and geometric shapes.
The movement also had utopian ideals of unity
and universal visual language, likely a response
to beginning of WWI and a reflection of Western
European neutrality.

15. The Cow.
c. 1916.

16. Constructivism
Constructivism grew from a blend of
Cubism and Futurism mixed together
with the revolutionary political
climate in Russia before WWI and the
communist takeover. Borrowed
collage and turned it into bas-relif,
then free standing sculpture and
architectural constructions.
Archipenko. Medrano II. 1913.

17. Constructivism
Constructivism grew from a blend of
Cubism and Futurism mixed together
with the revolutionary political
climate in Russia before WWI and the
communist takeover. Borrowed
collage and turned it into bas-relif,
then free standing sculpture and
architectural constructions.

18. Constructivism
Constructivism grew from a blend of
Cubism and Futurism mixed together
with the revolutionary political
climate in Russia before WWI and the
communist takeover. Borrowed
collage and turned it into bas-relif,
then free standing sculpture and
architectural constructions.
van Doesburg. Woman dancing, 1 and 2. 1916.

19. Constructivism
Constructivism grew from a blend of
Cubism and Futurism mixed together
with the revolutionary political
climate in Russia before WWI and the
communist takeover. Borrowed
collage and turned it into bas-relif,
then free standing sculpture and
architectural constructions.

20. Constructivism
Constructivism grew from a blend of
Cubism and Futurism mixed together
with the revolutionary political
climate in Russia before WWI and the
communist takeover. Borrowed
collage and turned it into bas-relif,
then free standing sculpture and
architectural constructions.
van Doesburg. The scarecrow page. 1925.

21. Constructivism
Constructivism grew from a blend of
Cubism and Futurism mixed together
with the revolutionary political
climate in Russia before WWI and the
communist takeover. Borrowed
collage and turned it into bas-relif,
then free standing sculpture and
architectural constructions.

22. Constructivism
Constructivism grew from a blend of
Cubism and Futurism mixed together
with the revolutionary political
climate in Russia before WWI and the
communist takeover. Borrowed
collage and turned it into bas-relif,
then free standing sculpture and
architectural constructions.
van Doesburg. Still life. 1916.

23. Constructivism
Constructivism grew from a blend of
Cubism and Futurism mixed together
with the revolutionary political
climate in Russia before WWI and the
communist takeover. Borrowed
collage and turned it into bas-relif,
then free standing sculpture and
architectural constructions.

24. Constructivism
Constructivism grew from a blend of
Cubism and Futurism mixed together
with the revolutionary political
climate in Russia before WWI and the
communist takeover. Borrowed
collage and turned it into bas-relif,
then free standing sculpture and
architectural constructions.
van Doesburg. Card Players. 1916.

25. clockwise from top left:
Theo van Doesburg. Composition XII. 1918.
Piet Mondrian. Pier and Ocean. 1915.
Theo van Doesburg. typeface. 1919.

26. clockwise from top left:
Theo van Doesburg. Composition XII. 1918.
Theo van Doesburg. typeface. 1919.

27. Gerrit Rietveld.
Child’s chair. 1920.
clockwise from top left:
Theo van Doesburg. Composition XII. 1918.
Theo van Doesburg. typeface. 1919.

28. Gerrit Rietveld.
Child’s chair. 1920.
clockwise from top left:
Theo van Doesburg. Composition XII. 1918.
Theo van Doesburg. typeface. 1919.

29. Gerrit Rietveld.
Child’s chair. 1920.
Theo van Doesburg. typeface. 1919.

30. Theo van Doesburg. Card Players. 1917.
Gerrit Rietveld.
Child’s chair. 1920.
Theo van Doesburg. typeface. 1919.

31. Clockwise from top, by Gerrit Rietveld:
Red Blue Chair. 1923.
Schroder House, exterior, interior. 1920.

32. Clockwise from top, by Gerrit Rietveld:
Red Blue Chair. 1923.

33. Clockwise from top, by Gerrit Rietveld:
Red Blue Chair. 1923.
Theo van Doesburg. Simultaneous
Countercomposition. 1929.

34. clockwise from top:
Cafe L’Aubette plans. Gouache.
c 1928
Cafe L’Aubette
architectural model
c. 1992
Cafe L’Aubette
Cinema, dance hall.
c. 1928.

35. DADA
Nihilistic precursor of surrealism c. 1915-1923
that began in Zurich in response to WWI.
Design prior to DADA was almost exclusively
used to promote commercial interests and in
1914, political propaganda.
ANTI-EVERYTHING
What is DADA cover. 1923.

36. DADA
Nihilistic precursor of surrealism c. 1915-1923
that began in Zurich in response to WWI.
Design prior to DADA was almost exclusively
used to promote commercial interests and in
1914, political propaganda.
ANTI-EVERYTHING

37. DADA
Nihilistic precursor of surrealism c. 1915-1923
that began in Zurich in response to WWI.
Design prior to DADA was almost exclusively
used to promote commercial interests and in
1914, political propaganda.
ANTI-EVERYTHING
DADA event poster with Kurt Schwitters. 1922.

38. DADA
Nihilistic precursor of surrealism c. 1915-1923
that began in Zurich in response to WWI.
Design prior to DADA was almost exclusively
used to promote commercial interests and in
1914, political propaganda.
ANTI-EVERYTHING

39. DADA
Nihilistic precursor of surrealism c. 1915-1923
that began in Zurich in response to WWI.
Design prior to DADA was almost exclusively
used to promote commercial interests and in
1914, political propaganda.
ANTI-EVERYTHING
DADA event poster with Kurt Schwitters. 1922.

40. DADA
Nihilistic precursor of surrealism c. 1915-1923
that began in Zurich in response to WWI.
Design prior to DADA was almost exclusively
used to promote commercial interests and in
1914, political propaganda.
ANTI-EVERYTHING

41. DADA
Nihilistic precursor of surrealism c. 1915-1923
that began in Zurich in response to WWI.
Design prior to DADA was almost exclusively
used to promote commercial interests and in
1914, political propaganda.
ANTI-EVERYTHING
Mechano cover. 1923.

42. 1921 - 1923 van Doesburg lived in Weimar, Germany and
used his home to promote de stijl to staff and students of
bauhaus. Bauhaus had an overriding commitment to
architecture that rejected any division between
decorative and constructional techniques; as such it was
closely related to de stijl and constructivism, but as far
away from DADA as one can get.

43. 1922 van Doesburg convened an international conference of constructivists and DADAists in Weimar.

44. 1930 published “A Manifesto of Art Concret”