'''UNDER CONSTRUCTION''' 
'''UNDER CONSTRUCTION''' 
[[File:Paul Klee.jpg|right|160px|thumb|Paul Klee]]
[[File:Klee - Senecio.jpg|right|230px|thumb|''Senecio'']]
[[File:Klee - Forest Witches.jpg|right|200px|thumb|''Forest Witches'']]
'''Paul Klee''' was a Swiss-German artist influenced by [[Theosophy]] and by the art movements of Expressionism, Cubism, and Surrealism.

== Personal Life and Education==

Paul Klee was born December 18, 1879 in Münchenbuchsee, Switzerland. His German father was a music teacher and his mother was a Swiss singer. The boy, a talented violinist, naturally aspired to a musical career and felt an emotional connection to traditional works from the 18th and 19th centuries. As a teenager, he focused on visual arts, showing considerable skill with landscape drawings.

In 1898, he attended the Academy of Fine Arts in Munich. He studied for a time under Franz Von Stuck, who was also Wassily Kandinsky’s instructor. He was an excellent draftsman, but struggled with color. After receiving his degree, he traveled to Italy to study the master painters. He then returned to Bern, where he lived with his parents. While experimenting with art techniques, he also played violin in an orchestra and wrote reviews for concerts and theater performances.

In 1906, he married pianist Lily Stumpf and moved to a suburb in Munich. In 1907, they had a son, Felix Paul Klee. Lily taught piano and gave occasional performances while Klee took care of the house and worked on his art. In 1910, he had his first solo art exhibition in Switzerland.

In 1911, he met Wassily Kandinsky and August Macke. Shortly after, he joined the editorial team of Der Blaue Reiter (the Blue Rider) founded by Kandinsky and Franz Marc. Der Blaue Reiter exhibition in 1912 included 17 of Klee’s graphic works. Klee traveled to Paris where cubism and abstract art were gaining traction. He was inspired by the works of Robert Delaunay and Maurice de Vlaminck, especially their use of bold color. He worked on several experiments with color, but still lacked color sense.

In 1914, he visited Tunisia with Macke and Louis Millet. There, he experienced color in a way that melded with his artistic abilities. When he returned home, Klee added color to his first abstract work. Scholars have associated his colored rectangles with musical notes, combinations of colored blocks with musical compositions, and his color palette a musical key.

Klee was drafted into military service in 1916, but was able to continue painting during World War I. Two of his friends, August Macke and Franz Marc, died in battle and that impacted him. He created several works based on war themes and was able to exhibit in several shows. His work sold well and critics lauded him.

From 1921 to 1931, Klee taught at the Bauhaus. A year later, Kandinsky joined the Bauhaus faculty and their friendship resumed. He exhibited in Paris in 1924 and visited Egypt in 1928. From 1931 to 1933, Klee taught at the Dusseldorf Academy, where he was singled out by a Nazi newspaper as being a “Galician Jew”. His house was searched by the Gestapo, he was fired from his job, and the Klee family fled to Switzerland in late 1933.

In 1935, he began to experience symptoms of the autoimmune disease scleroderma. His art output decreased significantly in 1936. The following year, his friends Kandinsky and Picasso visited him and feeling somewhat better, Klee resumed his work. In 1937, 102 of his works in public collections in Germany were seized by the Nazis and 17 were included in an exhibition of degenerate art to illustrate what was not politically acceptable. In the last months of his life, he created 50 drawings of angels. Klee produced almost 9,000 works of art during his lifetime. He passed away on June 29, 1940 in Muralto, Switzerland.

==Influence of Theosophy==

Klee had several friends who were involved with Theosophy. A poet he knew and admired, Christian Morgenstern, became a follower of Rudolf Steiner in 1908-9.<ref>"Chronologies: Artists and the Spiritual", Judi Freeman, The Spiritual in Art: Abstract Painting 1890-1985, as organized by Maurice Tuchman, Los Angeles County Museum of Art, p. 406.</ref> In 1911, he met Kandinsky and joined Der Blaue Reiter. In 1917 and 1918, Klee read books by [[Rudolf Steiner]] and some of the concepts he was exposed to made it into his teachings at the Bauhaus in the 1920s. During his time at the Bauhaus, he was influenced, directly or indirectly, to [[Theosophy]] by his colleague [[Wassily Kandinsky]].<ref>Tessel M. Bauduin, "Abstract Art as 'By-Product of Astral Manifestation': The Influence of Theosophy on Modern Art in Europe" ''Handbook of the Theosophical Current'' (Leiden: Brill, 2013), 448.</ref> In Klee’s work to capture the invisible, he theorized about the need to transcend the visible.<ref>Paul Klee and the Art of Making the Invisible Visible, YouTube, COGITART, October 21, 2025, https://www.youtube.com/watch?v=MyPx78l4ERo</ref> Klee was “critical of theosophical color symbolism and spiritual training but agrees with idea of inner creation from nebulous spots.”<ref>"Chronologies: Artists and the Spiritual", Judi Freeman, The Spiritual in Art: Abstract Painting 1890-1985, as organized by Maurice Tuchman, Los Angeles County Museum of Art, p. 406.</ref>

== Artistic Style ==

Klee’s work was influenced by music, poetry, nature, politics/war, and various art movements such as cubism, expressionism, and surrealism. Klee did not have a default style, technique, or medium. Rather, he explored numerous styles and experimented to produce works from a highly personal and unique perspective. His work is often characterized by mystical and spiritual elements, successfully merging the representational with the abstract. Klee was known for his writings and lectures on color theory and design.

The plurality of Klee’s techniques are unmatched by any painter during that time. He used varying and unconventional combinations of materials and mediums (inks, linen canvas, burlap, oil, watercolors, tempura, glass, silk, cardboard, pastels etc.) to produce his art. He used a very complex genesis to develop his works. He catalogued the materials used in many of his works and in several instances, he recorded the techniques used in his oeuvre.<ref>Paul Klee: “In the Magic Kitchen”|MetSpeaks, YouTube, The Metropolitan Museum of Art, https://December 14, 2022, www.youtube.com/watch?v=Tym2Ud7Faug </ref>

== Writings ==

Klee wrote a number of books, including poetry, in German. For a biblography, see [https://en.wikipedia.org/wiki/Paul_Klee#Publications Wikipedia].

== Additional resources ==

* [http://www.khaldea.com/charts/klee.shtml Paul Klee Natal Horoscope] at Khaldea.

== Notes ==
<references/>
[[Category:Artists|Klee, Paul]]
[[Category:Musicians|Klee, Paul]]
[[Category:Writers|Klee, Paul]]
[[Category:Nationality Swiss|Klee, Paul]]
[[Category:Nationality German|Klee, Paul]]
[[Category:Famous people|Klee, Paul]]
[[Category:People|Klee, Paul]]

Paul Klee

2026-02-25T22:38:53Z

Malini Lavappa:

'''UNDER CONSTRUCTION''' 
'''UNDER CONSTRUCTION''' 
[[File:Paul Klee.jpg|right|160px|thumb|Paul Klee]]
[[File:Klee - Senecio.jpg|right|230px|thumb|''Senecio'']]
[[File:Klee - Forest Witches.jpg|right|200px|thumb|''Forest Witches'']]
'''Paul Klee''' was a Swiss-German artist influenced by [[Theosophy]] and by the art movements of Expressionism, Cubism, and Surrealism.

== Personal Life and Education==

Paul Klee was born December 18, 1879 in Münchenbuchsee, Switzerland. His German father was a music teacher and his mother was a Swiss singer. The boy, a talented violinist, naturally aspired to a musical career and felt an emotional connection to traditional works from the 18th and 19th centuries. As a teenager, he focused on visual arts, showing considerable skill with landscape drawings.

In 1898, he attended the Academy of Fine Arts in Munich. He studied for a time under Franz Von Stuck, who was also Wassily Kandinsky’s instructor. He was an excellent draftsman, but struggled with color. After receiving his degree, he traveled to Italy to study the master painters. He then returned to Bern, where he lived with his parents. While experimenting with art techniques, he also played violin in an orchestra and wrote reviews for concerts and theater performances.

In 1906, he married pianist Lily Stumpf and moved to a suburb in Munich. In 1907, they had a son, Felix Paul Klee. Lily taught piano and gave occasional performances while Klee took care of the house and worked on his art. In 1910, he had his first solo art exhibition in Switzerland.

In 1911, he met Wassily Kandinsky and August Macke. Shortly after, he joined the editorial team of Der Blaue Reiter (the Blue Rider) founded by Kandinsky and Franz Marc. Der Blaue Reiter exhibition in 1912 included 17 of Klee’s graphic works. Klee traveled to Paris where cubism and abstract art were gaining traction. He was inspired by the works of Robert Delaunay and Maurice de Vlaminck, especially their use of bold color. He worked on several experiments with color, but still lacked color sense.

In 1914, he visited Tunisia with Macke and Louis Millet. There, he experienced color in a way that melded with his artistic abilities. When he returned home, Klee added color to his first abstract work. Scholars have associated his colored rectangles with musical notes, combinations of colored blocks with musical compositions, and his color palette a musical key.

Klee was drafted into military service in 1916, but was able to continue painting during World War I. Two of his friends, August Macke and Franz Marc, died in battle and that impacted him. He created several works based on war themes and was able to exhibit in several shows. His work sold well and critics lauded him.

From 1921 to 1931, Klee taught at the Bauhaus. A year later, Kandinsky joined the Bauhaus faculty and their friendship resumed. He exhibited in Paris in 1924 and visited Egypt in 1928. From 1931 to 1933, Klee taught at the Dusseldorf Academy, where he was singled out by a Nazi newspaper as being a “Galician Jew”. His house was searched by the Gestapo, he was fired from his job, and the Klee family fled to Switzerland in late 1933.

In 1935, he began to experience symptoms of the autoimmune disease scleroderma. His art output decreased significantly in 1936. The following year, his friends Kandinsky and Picasso visited him and feeling somewhat better, Klee resumed his work. In 1937, 102 of his works in public collections in Germany were seized by the Nazis and 17 were included in an exhibition of degenerate art to illustrate what was not politically acceptable. In the last months of his life, he created 50 drawings of angels. Klee produced almost 9,000 works of art during his lifetime. He passed away on June 29, 1940 in Muralto, Switzerland.

==Influence of Theosophy==

Klee had several friends who were involved with Theosophy. A poet he knew and admired, Christian Morgenstern, became a follower of Rudolf Steiner in 1908-9.<ref>"Chronologies: Artists and the Spiritual", Judi Freeman, The Spiritual in Art: Abstract Painting 1890-1985, as organized by Maurice Tuchman, Los Angeles County Museum of Art, p. 406.</ref> In 1911, he met Kandinsky and joined Der Blaue Reiter. In 1917 and 1918, Klee read books by [[Rudolf Steiner]] and some of the concepts he was exposed to made it into his teachings at the Bauhaus in the 1920s. During his time at the Bauhaus, he was influenced, directly or indirectly, to [[Theosophy]] by his colleague [[Wassily Kandinsky]].<ref>Tessel M. Bauduin, "Abstract Art as 'By-Product of Astral Manifestation': The Influence of Theosophy on Modern Art in Europe" ''Handbook of the Theosophical Current'' (Leiden: Brill, 2013), 448.</ref> In Klee’s work to capture the invisible, he theorized about the need to transcend the visible.<ref>Paul Klee and the Art of Making the Invisible Visible, YouTube, COGITART, October 21, 2025, https://www.youtube.com/watch?v=MyPx78l4ERo</ref> Klee was “critical of theosophical color symbolism and spiritual training but agrees with idea of inner creation from nebulous spots.”<ref>"Chronologies: Artists and the Spiritual", Judi Freeman, The Spiritual in Art: Abstract Painting 1890-1985, as organized by Maurice Tuchman, Los Angeles County Museum of Art, p. 406.</ref>

== Artistic Style ==

Klee’s work was influenced by music, poetry, nature, politics/war, and various art movements such as cubism, expressionism, and surrealism. Klee did not have a default style, technique, or medium. Rather, he explored numerous styles and experimented to produce works from a highly personal and unique perspective. His work is often characterized by mystical and spiritual elements, and he successfully merged the representational with the abstract.

Klee was known for his writings and lectures on color theory and design.

=== Work at Bauhaus ===

While working at the Bauhaus, Klee was influenced, directly or indirectly, to [[Theosophy]] by his colleague [[Wassily Kandinsky]]. He was also exposed to the concepts of [[Rudolf Steiner]].<ref>Tessel M. Bauduin, "Abstract Art as 'By-Product of Astral Manifestation': The Influence of Theosophy on Modern Art in Europe" ''Handbook of the Theosophical Current'' (Leiden: Brill, 2013), 448.</ref>

== Writings ==

Klee wrote a number of books, including poetry, in German. For a biblography, see [https://en.wikipedia.org/wiki/Paul_Klee#Publications Wikipedia].

== Additional resources ==

* [http://www.khaldea.com/charts/klee.shtml Paul Klee Natal Horoscope] at Khaldea.

== Notes ==
<references/>
[[Category:Artists|Klee, Paul]]
[[Category:Musicians|Klee, Paul]]
[[Category:Writers|Klee, Paul]]
[[Category:Nationality Swiss|Klee, Paul]]
[[Category:Nationality German|Klee, Paul]]
[[Category:Famous people|Klee, Paul]]
[[Category:People|Klee, Paul]]

2026-02-05T23:10:29Z

Malini Lavappa: /* Additional Resources */

UNDER CONSTRUCTION

De Stijl and Neoplasticism

De Stijl (1917-1931) was a Dutch art movement that focused on pure abstraction (Neoplasticism) to capture the underlying harmony of the universe in art, architecture, and design using geometric forms, primary colors, and straight lines.

==The Components==

'''De Stijl''' (English translation "the style") was the name of the movement and the journal that was founded in 1917. At one point, De Stijl had 100 members and the publication had a circulation of 300 copies.<ref>See https://en.wikipedia.org/wiki/De_Stijl
</ref>

'''Neoplasticism''' was the artistic style defined by Piet Mondrian and used by members of the De Stijl movement. The core principles were:

* Pure Abstraction - Elimination of natural forms to express the spiritual and universal in art and design
* Geometry - Use of horizontal and vertical lines, in right angles
* Colors - Use of neutral (black, white, and gray) and primary (red, blue, and yellow) colors only in work

==Mission==

In 1918, the group produced a [https://www2.gwu.edu/~art/Temporary_SL/177/pdfs/DeStijl.pdf manifesto] with a desire to connect with universal harmony in their work. They were familiar with theosophical concepts which they promoted to further the mission of the group.<ref>Theo van Doesburg, Piet Mondrian, Vilmos Huszar, Georges Vantongerloo, Jan Wils, Robert van ‘t Hoff, and Gerrit Rietveld signed the manifesto. See https://www.christies.com/en/stories/collecting-guide-de-stijl-art-movement-fb74945aafd748ffae465f4a08884d83
</ref>

==Original Members==

'''Theo van Doesburg''' (1883 - 1931) — Painter, principal founder and publisher of De Stijl journal who wrote about art theory synthesizing science and mysticism as well as the fourth dimension.<ref>"Chronologies: Artists and the Spiritual", Judi Freeman, The Spiritual in Art: Abstract Painting 1890-1985, as organized by Maurice Tuchman, Los Angeles County Museum of Art, p. 397.}</ref>

'''Piet Mondrian''' (1872 -1944) — Painter who defined and adhered to Neoplasticism, utilizing gray, white, and primary colors (red, blue, and yellow) in a grid like pattern with black lines. Coined the term Nieuwe Beelding (Neoplasticism) in 1917. He wrote 12 articles about Neoplasticism in painting which were published in De Stijl and also published a [https://digi.ub.uni-heidelberg.de/diglit/mondrian1920/0005/image,info book] in 1920.<ref>See https://en.wikipedia.org/wiki/De_Stijl </ref>

'''Bart van der Leck''' (1876 - 1958) - Painter and designer focused on color and form. He began his career in stained glass and then moved towards abstraction. When his abstract style started to be based on representational forms, he broke with the group. In 1920, after he left the group, he went back to figurative compositions.<ref>“The Birth of De Stijl, Part II, Bart van der Leck”, Rudolf W. Oxennar, https://www.artforum.com/features/the-birth-of-de-stijl-part-two-bart-van-der-leck-210291/ </ref>

'''Vilmos Huszar''' (1884 - 1960) — Hungarian artist and designer who moved to the Netherlands in 1905. He was responsible for the cover design of De Stijl and wrote numerous articles that further defined neoplasticism in De Stijl.<ref>See https://www.museothyssen.org/en/collection/artists/huszar-vilmos</ref>

'''Georges Vantongerloo''' (1886 - 1965) — Sculptor and painter who adhered to mathematical principles. Conveyed to sculptors the need to visualize the invisible in an article he wrote (Reflexions) for De Stijl. He also published a book, ''Art and its Future'', in which he conducted a mathematical analysis of several Flemish paintings.<ref>"Chronologies: Artists and the Spiritual", Judi Freeman, The Spiritual in Art: Abstract Painting 1890-1985, as organized by Maurice Tuchman, Los Angeles County Museum of Art, p. 419.</ref>

'''J.J.P. Oud''' (1890 - 1963) — Dutch architect who worked on socially progressive residential projects. He collaborated with Theo van Doesburg in 1917 and then became involved in the De Stijl movement using De Stijl principles in buildings.<ref>See https://en.wikipedia.org/wiki/J._J._P._Oud and
https://www.britannica.com/biography/Jacobus-Johannes-Pieter-Oud</ref>

'''Gerrit Rietveld''' (1888 - 1964) — Architect and designer who designed houses and furniture (such as the iconic Red Blue chair / Schroeder house) using De Stijl principles for his most iconic work. He broke with the group in1928, but held a De Stijl retrospective in 1951 which revived interest in his earlier works.<ref>See https://en.wikipedia.org/wiki/Gerrit_Rietveld and https://www.britannica.com/biography/Gerrit-Thomas-Rietveld </ref>

'''Robert van’t Hoff''' (1887 - 1979) — Dutch architect and furniture designer. He wrote five articles for De Stijl over two years. He then split with the group over differences with Theo van Doesburg. He kept in touch with other De Stijl members such as J.J.P. Oud and Mondrian who he visited in 1931. He financed the final issue of De Stijl in 1932.<ref>See https://en.wikipedia.org/wiki/Robert_van_'t_Hoff</ref>

'''Jan Wils''' (1891 - 1972) — Dutch architect and De Stijl member best known for for his design of the Olympic stadium in Amsterdam for the 1928 summer Olympics.

'''Antony Kok''' (1882 - 1969) - Poet and writer who worked closely with Theo van Doesburg in producing content for De Stijl. He personally supported fellow De Stijl members by buying works from Mondrian and van Doesburg.<ref>See https://en.wikipedia.org/wiki/Antony_Kok#:~:text=Antony%20Kok%20(1882–1969),the%20avant%2Dgarde%20visual%20arts.
</ref>

==Later Members==

'''Marlow Moss''' (1889-1958) - British painter and sculptor who met Mondrian in Paris in 1929. He invited her to join the abstract creation group which included other artists such as Vantongerloo and van Doesburg. Her geometric art was rooted in mathematics similar to Vantongerloo.<ref>See https://www.christies.com/en/stories/collecting-guide-de-stijl-art-movement-fb74945aafd748ffae465f4a08884d83
</ref>

'''Nicolaas Warb''' (1906-1957) - Dutch artist who moved to Paris in 1929 and became involved with the De Stijl movement around painters Mondrian and Vantongerloo. She was interested in Theosophy and was a disciple of Rudolf Steiner. She believed emotions had different colors.<ref>See https://www.christies.com/en/stories/collecting-guide-de-stijl-art-movement-fb74945aafd748ffae465f4a08884d83</ref>

'''Friedrich Vordemberge-Gildewart''' (1899-1962) - Artist who joined De Stijl in 1924 when he was living in Paris. He applied De Stijl’s aesthetic in a playful and creative manner.<ref>See https://www.christies.com/en/stories/collecting-guide-de-stijl-art-movement-fb74945aafd748ffae465f4a08884d83</ref>

'''Cornelis van Eesteren''' (1897-1981) - Dutch architect and urban planner who contributed to the De Stijl movement.<ref>See https://en.wikipedia.org/wiki/Cornelis_van_Eesteren </ref>

==Influence of Theosophy==

There were strong ties between Theosophy and Dutch art from 1890 to 1920. As early as 1895, esoteric concepts of mathematics were being used in certain Dutch artistic/theosophical circles. Two painters, Jacob Bendien and Jan van Deere, are believed to be the first to initiate abstract art in the Netherlands before the de Stijl movement began. Bendien had links to Theosophy, studying with theosophical painter Cornelis Spoor and developing a friendship with Piet Mondrian, writing articles addressing Mondrian’s Neoplastic work which was influenced by Theosophy and rooted in esoteric concepts of mathematics.<ref>"Annunciation of the New Mysticism: Dutch Symbolism and Early Abstraction", Carel Blotkamp, Spiritual in Art: Abstract Painting 1890-1985, as organized by Maurice Tuchman, Los Angeles County Museum of Art, p. 104-105.</ref>

Theo van Doesburg, who was introduced to Theosophy from his first wife, was heavily influenced by the work of Wassily Kandinsky and M.H.J. Schoenmaekers.<ref>"Chronologies: Artists and the Spiritual", Judi Freeman, The Spiritual in Art: Abstract Painting 1890-1985, as organized by Maurice Tuchman, Los Angeles County Museum of Art, p. 397.</ref> In 1918, he asked Mondrian if Schoenmaekers books had been of any use to him. Mondrian said, “I got everything from the Secret Doctrine (Blavatsky), not from Schoenm., although he says the same things.”<ref>Letter from Mondrian to van Doesburg, n.d., probably May 1918, quoted in Hoek, “Piet Mondrian”, p. 59 as cited in Carel Blotkamp's "Annunciation of the New Mysticism: Dutch Symbolism and Early Abstraction", The Spiritual in Art: Abstract Painting 1890-1985, as organized by Maurice Tuchman, Los Angeles County Museum of Art, p. 103</ref> For Mondrian, art was, “…a conduit between the microcosm of earthly existence and the macrocosm of everlasting spiritual existence.”<ref>"Sacred Geometry: French Symbolism and Early Abstraction", Robert P. Welsh, The Spiritual in Art: Abstract Painting 1890-1985, as organized by Maurice Tuchman, Los Angeles County Museum of Art, p. 84.</ref>

==Falling Apart==

Although De Stijl was founded on Neoplasticism as originally defined by Mondrian, the group evolved to encompass other elements as some artists and architects left and others joined. Many of the members had strong feelings about the work of other members and rifts started to develop. For example, on September 5, 1920 Mondrian wrote to van Doesburg complaining that Vantongerloo was going about his work as an "ordinary" Theosophist whereas Oud was steeped in Neoplasticism.<ref>Mondrian: His Life, His Art, His Quest for the Absolute, Nicholas Fox Weber, New York, 2024, Alfred A. Knopf Publisher, p. 226</ref> He would criticize Oud a few months later. In 1924, Mondrian and van Doesburg went their separate ways after van Doesburg started using slanted lines in his work.<ref>Mondrian: His Life, His Art, His Quest for the Absolute, Nicholas Fox Weber, New York, 2024, Alfred A. Knopf Publisher, p. 261</ref>. Theo van Doesburg, who had been the force behind the De Stijl journal, passed away in 1931. The last issue of De Stijl was published in 1932.

==Gallery==

<gallery>
DeStijl1.jpg| Gerrit Rietveld, Red Blue Chair, 1918-1923, Credit: MoMA, Gift of Philip Johnson
DeStijl2.jpg| Georges Vantongerloo, Rapports de volumes, 1919, Source: WikiArt.org
DeStijl3.jpg| Piet Mondrian, Composition A, 1923, Source: WikiArt.org
DeStijl4.jpg| Vilmos Huszar, Composition with Female Figure, 1918, Credit: MoMA, The Riklis Collection of McCrory Corporation
DeStijl5.jpg| Theo van Doesburg, Rhythm of a Russian Dance, June 1918, Credit: MoMA, Acquired through the Lillie P. Bliss Bequest (by exchange)
</gallery>

==Additional Resources==

'''Museum Collections'''

[https://www.kunstmuseum.nl/en/search?search=mondrian Kunstmuseum Hague] has the most extensive Mondrian collection

[https://www.stedelijk.nl/en Stedelijk Museum] (Amsterdam) has many works by Reitveld and van Doesburg

[https://www.centraalmuseum.nl/en/our-collection?_gl=1*ztftlu*_up*MQ..*_ga*MTczMDY0NDIxMC4xNzcwMTM5NDUy*_ga_ZGLY9F9KH3*czE3NzAxMzk0NTAkbzEkZzAkdDE3NzAxMzk0NTAkajYwJGwwJGg0NjQ2Nzk0ODc. Central Museum of Utrecht] has the largest Rietveld collection worldwide

'''Videos'''

De Stijl Movement: Art and Architecture Revolution, InSite YouTube channel, June 26, 2024, https://m.youtube.com/watch?v=swIZI_QUY1g

De Stijl - Piet Mondrian and Theo van Doesburg, 20th Century, Vivie’s Art World, May 14, 2025, https://www.youtube.com/watch?v=QQ8GDjoWUfY

'''Websites'''

Museum of Modern Art, https://www.moma.org/collection/terms/de-stijl

Neoplasticism - Part I, An explanation of Mondrian’s oeuvre by Michael Sciam, https://www.piet-mondrian.eu/introduction/an-overview/a-new-plastic-language/

Guggenheim New York, https://www.guggenheim.org/artwork/movement/de-stijl

Rietveld-Schroeder House, Architect Gerrit Rietveld, Utrecht, Netherlands, 1924, UNESCO World Heritage Convention, https://whc.unesco.org/en/list/965/

==Notes==