De Stijl

De Stijl This article is about the artistic movement. For the album (1888–1964), Robert van ‘t Hoff (1887–1979), and J. J. by The White Stripes, see De Stijl (album). P. Oud (1890–1963). The artistic philosophy that formed De Stijl (/də ˈstaɪl/; Dutch pronunciation: [də ˈstɛil]), a basis for the group’s work is known as neoplasticism— the new plastic art (or Nieuwe Beelding in Dutch).

1 Principles and influences Mondrian sets forth the delimitations of neoplasticism in his essay “Neo-Plasticism in Pictorial Art”. He writes, “this new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary, it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour”. With these constraints, his art allows only primary colours and non-colours, only squares and rectangles, only straight and horizontal or vertical lines.[4] The De Stijl movement posited the fundamental principle of the geometry of the straight line, the square, and the rectangle, combined with a strong asymmetricality; the predominant use of pure primary colors with black and white; and the relationship between positive and negative elements in an arrangement of nonobjective forms and lines”.[5] The name De Stijl is supposedly derived from Gottfried Semper’s Der Stil in den technischen und tektonischen Künsten oder Praktische Ästhetik (1861–3), which Curl[3] suggests was mistakenly believed to advocate materialism and functionalism. In general, De Stijl proposed ultimate simplicity and abstraction, both in architecture and painting, by using only straight horizontal and vertical lines and rectangular forms. Furthermore, their formal vocabulary was limited to the primary colours, red, yellow, and blue, and the three primary values, black, white, and grey. The works avoided symmetry and attained aesthetic balance by the use of opposition. This element of the movement embodies the second meaning of stijl: “a post, jamb or support”; this is best exemplified by the construction of crossing joints, most commonly seen in carpentry.

Red and Blue Chair designed by Gerrit Rietveld in 1917.

Dutch for “The Style”, also known as neoplasticism, was a Dutch artistic movement founded in 1917 in Amsterdam. The De Stijl consisted of artists and architects [1] In a narrower sense, the term De Stijl is used to refer to a body of work from 1917 to 1931 founded in the Netherlands.[2][3] Proponents of De Stijl advocated pure abstraction and universality by a reduction to the essentials of form and colour; they simplified visual compositions to vertical and horizontal, using only black, white In many of the group’s three-dimensional works, vertical and primary colors. and horizontal lines are positioned in layers or planes that De Stijl is also the name of a journal that was published do not intersect, thereby allowing each element to exist by the Dutch painter, designer, writer, and critic Theo independently and unobstructed by other elements. This van Doesburg (1883–1931) that served to propagate the feature can be found in the Rietveld Schröder House and group’s theories. Next to van Doesburg, the group’s prin- the Red and Blue Chair. cipal members were the painters Piet Mondrian (1872– De Stijl was influenced by Cubist painting as well as by the 1944), Vilmos Huszár (1884–1960), and Bart van der mysticism and the ideas about “ideal” geometric forms Leck (1876–1958), and the architects Gerrit Rietveld (such as the “perfect straight line”) in the neoplatonic 1

2 HISTORY

philosophy of mathematician M. H. J. Schoenmaekers. The De Stijl movement was also influenced by Neopositivism.[6] The works of De Stijl would influence the Bauhaus style and the international style of architecture as well as clothing and interior design. However, it did not follow the general guidelines of an “-ism” (e.g., Cubism, Futurism, Surrealism), nor did it adhere to the principles of art schools like the Bauhaus; it was a collective project, a joint enterprise. In music, De Stijl was an influence only on the work of composer Jakob van Domselaer, a close friend of Mondrian. Between 1913 and 1916, he composed his Proeven van Stijlkunst (“Experiments in Artistic Style”), inspired mainly by Mondrian’s paintings. This minimalistic—and, at the time, revolutionary—music defined “horizontal” Page from De Stijl magazine. and “vertical” musical elements and aimed at balancing those two principles. Van Domselaer was relatively unknown in his lifetime, and did not play a significant role from the international art world—and in particular, from Paris, which was its centre then. within the De Stijl group.

History

During that period, painter Theo van Doesburg started looking for other artists to set up a journal and start an art movement. Van Doesburg was also a writer, poet, and critic, who had been more successful writing about art than working as an independent artist. Quite adept at making new contacts due to his flamboyant personality and outgoing nature, he had many useful connections in the art world.

2.2 Founding of De Stijl

Theo van Doesburg, neoplasticism: Composition VII (the three graces) 1917. Piet Mondrian, Gray Tree, 1912

Early history

From the flurry of new art movements that followed the Impressionist revolutionary new perception of painting, Cubism arose in the early 20th century as an important and influential new direction. In the Netherlands, too, there was interest in this “new art”. However, because the Netherlands remained neutral in World War I, Dutch artists were not able to leave the country after 1914 and were thus effectively isolated

Around 1915, Van Doesburg started meeting the artists who would eventually become the founders of the journal. He first met Piet Mondrian at an exhibition in Stedelijk Museum Amsterdam. Mondrian, who had moved to Paris in 1912 (and there, changed his name from “Mondriaan”), had been visiting the Netherlands when war broke out. He could not return to Paris, and was staying in the artists’ community of Laren, where he met Bart van der Leck and regularly saw M. H. J. Schoenmaekers. In 1915, Schoenmaekers published Het nieuwe wereldbeeld (“The New Image of the World”), followed in 1916 by

2.5

Influence on architecture

Beginselen der beeldende wiskunde (“Principles of Plastic Mathematics”). These two publications would greatly influence Mondrian and other members of De Stijl. Van Doesburg also knew J. J. P. Oud and the Hungarian artist Vilmos Huszár. In 1917 the cooperation of these artists, together with the poet Anthony Kok, resulted in the founding of De Stijl. The young architect Gerrit Rietveld joined the group in 1918. During those first few years, the group was still relatively homogeneous, although Van der Leck left in 1918 due to artistic differences of opinion. Manifestos were being published, signed by all members. The social and economic circumstances of the time formed an important source of inspiration for their theories, and their ideas The Rietveld Schröder House—the only building realised comabout architecture were heavily influenced by Berlage and pletely according to the principles of De Stijl Frank Lloyd Wright. The name Nieuwe Beelding was a term first coined in 1917 other hand, went back to figurative compositions after his by Mondrian, who wrote a series of twelve articles called departure from the group. De Nieuwe Beelding in de schilderkunst (“Neo-Plasticism in Painting”) that were published in the journal De Stijl. In 1920 he published a book titled Le Neo-Plasticisme. 2.5 Influence on architecture

After 1920

Around 1921, the group’s character started to change. From the time of van Doesburg’s association with Bauhaus, other influences started playing a role. These influences were mainly Malevich and Russian Constructivism, to which not all members agreed. In 1924 Mondrian broke with the group after van Doesburg proposed the theory of elementarism, suggesting that a diagonal line is more vital than horizontal and vertical ones. In addition, the De Stijl group acquired many new “members”. Dadaist influences, such as I. K. Bonset’s poetry and Aldo Camini’s “antiphilosophy” generated controversy as well. Only after Van Doesburg’s death was it revealed that Bonset and Camini were two of his Aubette dance hall, 1929 pseudonyms. The De Stijl influence on architecture remained considerable long after its inception; Mies van der Rohe was 2.4 After van Doesburg’s death among the most important proponents of its ideas. Between 1923 and 1924, Rietveld designed the Rietveld Theo van Doesburg died in Davos, Switzerland, in 1931. Schröder House, the only building to have been created His wife, Nelly, administered his estate. completely according to De Stijl principles. Examples Because of van Doesburg’s pivotal role within De Stijl, of Stijl-influenced works by J.J.P. Oud can be found in the group did not survive. Individual members remained Rotterdam (Café De Unie) and Hoek van Holland. Other in contact, but De Stijl could not exist without a strong examples include the Eames House by Charles and Ray central character. Thus, it may be wrong to think of De Eames, and the interior decoration for the Aubette dance Stijl as a close-knit group of artists. The members knew hall in Strasbourg, designed by Sophie Taeuber-Arp, Jean each other, but most communication took place by letter. Arp and van Doesburg. For example, Mondrian and Rietveld never met in person. Many, though not all, artists did stay true to the movement’s basic ideas, even after 1931. Rietveld, for instance, continued designing furniture according to De Stijl principles, while Mondrian continued working in the style he had initiated around 1920. Van der Leck, on the

2.6 Present day Works by De Stijl members are scattered all over the world, but De Stijl-themed exhibitions are organised regularly. Museums with large De Stijl collections include

the Gemeentemuseum in The Hague (which owns the world’s most extensive, although not exclusively De Stijlrelated, Mondrian collection) and Amsterdam’s Stedelijk Museum, where many works by Rietveld and Van Doesburg are on display. The Centraal Museum of Utrecht has the largest Rietveld collection worldwide; it also owns the Rietveld Schröder House, Rietveld’s adjacent “show house”, and the Rietveld Schröder Archives.

(1907–1981), painter and

• Burgoyne Diller (1906–1965), painter[8] • Theo van Doesburg (1883–1931), painter, designer, and writer; co-founder of De Stijl movement; published De Stijl, 1917–1931[2]

• Jean Gorin (1899–1981), painter, sculptor[9]

• Frederick John Kiesler (1890-1965), architect, theater designer, artist, sculptor[12] • Antony Kok (1882–1969), poet[13]

• Piet Mondrian (1872–1944), painter, co-founder of De Stijl[2] • Marlow Moss (1889–1958), painter

[9]

• J. J. P. Oud (1890–1963), architect (1888–1964),

(1887–1948),

• Art Concret

[2] “De Stijl”. Tate Glossary. The Tate. Retrieved 2006-0731.

[6] Linduff, David G. Wilkins, Bernard Schultz, Katheryn M. (1994). Art past, art present (2nd ed.). Englewood Cliffs, N.J.: Prentice Hall. p. 523. ISBN 0-13-062084-X.

[8] “Burgoyne Diller”. Sullivan Goss. Retrieved 24 September 2015. [9] “de Stijl”. the-artists.org. Retrieved 24 September 2015.

[11] “Vilmos huszar De Stijl”. MoMA. Retrieved 24 September 2015.

painter,[14]

[12] “AD Classics: Endless House / Friedrick Kiesler”. ArchDaily. Retrieved 24 September 2015.

• Friedrich Vordemberge-Gildewart, painter[2]

• Concrete art

[1] Linduff, David G. Wilkins, Bernard Schultz, Katheryn M. (1994). Art past, art present (2nd ed.). Englewood Cliffs, N.J.: Prentice Hall. p. 523. ISBN 0-13-062084-X.

and

architect

• Georges Vantongerloo (1886–1965), sculptor[2]

• Jan Wils (1891–1972), architect[16]

References

[10] “Robert Van ‘T Hoff in The Kröller-Müller Museum”. Het Nieuwe Instituut. Retrieved 24 September 2015.

[2]

• Abstract art

• Rietveld Schröder House

[7] “Ilya Bolotowsky”. Sullivan Goss. Retrieved 24 September 2015.

• Bart van der Leck (1876–1958), painter[2]

See also

• Mathematics and art

[5] The Guggenheim Collection Online: De Stijl

• Vilmos Huszár (1884–1960), painter[11]

4

• Fourth dimension in art

[4] Tate Glossary: Neo-Plasticism

• Robert van ‘t Hoff (1887–1979), architect[10]

• Kurt Schwitters sculptor[15]

• Constructivism (art)

[3] Curl, James Stevens (2006). A Dictionary of Architecture and Landscape Architecture (Paperback) (Second ed.). Oxford University Press. ISBN 0-19-860678-8.

• Cornelis van Eesteren (1897–1981), architect[9]

• Gerrit Rietveld designer[2]

• Abstraction-Création

5 References and sources

Neoplasticists • Ilya Bolotowsky sculptor[7]

REFERENCES AND SOURCES

[13] White, Michael (20 September 2003). De Stijl and Dutch Modernism. Manchester University Press. p. 134. ISBN 978-0-7190-6162-2. [14] Hauffe, Thomas (1998). Design (Reprinted ed.). London: Laurence King. p. 71. ISBN 9781856691345. OCLC 40406039. [15] Spaces for the Permanent Collection, Sprengel Museum Hannover [16] White, Michael (20 September 2003). De Stijl and Dutch Modernism. Manchester University Press. p. 36. ISBN 978-0-7190-6162-2.

Sources

5 • “De Stijl Architecture”. Design Arts. Art and Culture. Retrieved 2006-07-31. • van Doesburg, Theo (1924). “Towards a plastic architecture”. Translation of original published in De Stijl, XII, 6/7. Architecture & CAAD. Retrieved 2006-07-31.

6

Further reading • Blotkamp, Carel (ed.) (1982). De beginjaren van De Stijl 1917–1922. Utrecht: Reflex. • Blotkamp, Carel (ed.) (1996). De vervolgjaren van De Stijl 1922–1932. Amsterdam: Veen. • Jaffé, H. L. C. (1956). De Stijl, 1917–1931, The Dutch Contribution to Modern Art (1st ed.). Amsterdam: J.M. Meulenhoff. • Janssen, Hans; White, Michael (2011). The Story of De Stijl. Lund Humphries. ISBN 978-1-84822094-2. • Overy, Paul (1969). De Stijl (1st ed.). London: Studio Vista. • White, Michael (2003). De Stijl and Dutch Modernism. Manchester [etc]: Manchester University Press.

7

External links • De Stijl • Jakob van Domselaer’s Proeven van Stijlkunst, rare recording. • Essay about Mondrian and mysticism Scans of the complete first volume of the journal.

6

8 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

8

Text and image sources, contributors, and licenses

8.1

Text

• De Stijl Source: https://en.wikipedia.org/wiki/De_Stijl?oldid=730393839 Contributors: William Avery, Jahsonic, Wapcaplet, Sannse, Ellywa, Jebba, Error, RadRafe, Kaihsu, Jebdogdaddy, Heymarcel, Dysprosia, Wik, KRS, Hyacinth, Spinster, Eugene van der Pijll, Robbot, MathMartin, Puckly, Rasmus Faber, Pontauxchats, Solipsist, Hananeko, Lesgles, Hans castorp81~enwiki, Latitude0116, Jareha, Sonett72, Picapica, Justin Foote, Discospinster, JoeSmack, CanisRufus, Mbroooks, Kwamikagami, RoyBoy, Taarten, Giraffedata, Red Scharlach, Alansohn, Mduvekot, Ronline, Brookie, Dionidium, Mandarax, Sparkit, TwoRivers, Sartas Regem, Lockley, Krash, MapsMan, Husky, FlaBot, RobertG, RexNL, Planetneutral, It’s-is-not-a-genitive, Chobot, Antiuser, Flillibridge, Bgwhite, Kummi, YurikBot, Jaxl, Piet Vollaard, Shinmawa, 1717, Bantosh, Ms2ger, X10, Radioflux, Kf4bdy, SmackBot, JimmyGuano, InverseHypercube, Unyoyega, Hmains, Seylyn, Frédérick Lacasse, Jprg1966, Delfeye, Greatgavini, Can’t sleep, clown will eat me, Шизомби, Dogears, SashatoBot, Neddyseagoon, Majorkev, Qyd, Iridescent, Shoeofdeath, Picklegnome, Tawkerbot2, MarylandArtLover, Mcginnly, Jane023, Manfroze, Biblbroks, Kozuch, Victoriaedwards, Epbr123, Barticus88, Jack Bethune, Mafmafmaf, AntiVandalBot, WinBot, Luna Santin, Stormyhawn, Modernist, Storkk, JAnDbot, Deflective, 100110100, Kerotan, Freshacconci, Jvhertum, Hekerui, JaGa, Rettetast, Bus stop, R’n’B, CommonsDelinker, S.dedalus, Revoranii, Inquam, Bumper12, HiLo48, Chiswick Chap, Geekman3000, Bricology, Adam Zivner, Vinsfan368, Spellcast, VolkovBot, Jeff G., QuackGuru, Philip Trueman, A4bot, Aymatth2, Seraphim, Inventis, Sapphic, Wavehunter, PGWG, FlyingLeopard2014, Badvibes101, SieBot, Coffee, Chimin 07, Platinumbuddha, Bentogoa, OKBot, Ronaldomundo, Coldcreation, Nimbusania, ImageRemovalBot, ClueBot, The Thing That Should Not Be, TheOldJacobite, Niceguyedc, Excirial, 7&6=thirteen, Cowboy456, WikHead, Noctibus, Pataki Márta, Addbot, Lithoderm, Mjackso1, Fieldday-sunday, CanadianLinuxUser, Cst17, Lightbot, Szalax, Zorrobot, Luckas-bot, Yobot, Sageo, Galoubet, Materialscientist, Blaaah24, Fralor, Citation bot, Petropoxy (Lithoderm Proxy), J04n, RibotBOT, Bangabandhu, Arch2all, Marzedu, Vinceouca, Haeinous, I dream of horses, Jasonhdavis, Jamespjgrennan, Elekhh, TobeBot, EHAshgate, Diannaa, Bahnfrend, Orphan Wiki, Look2See1, Dcirovic, K6ka, Bollyjeff, Arman Cagle, Philafrenzy, The Dark Peria, ClueBot NG, Delusion23, Bragz, JanSotkal, Hlk90362, Struwwelpeter, BattyBot, Egeymi, Lugia2453, Mossmanmme, Susumudrm, Monkbot, Zvoru, Prof. Larminie, KasparBot, Dava1234, Thearkid and Anonymous: 193

8.2

Images

• File:Aubette_Ciné-dancing_01.jpg Source: https://upload.wikimedia.org/wikipedia/commons/c/c5/Aubette_Cin%C3% A9-dancing_01.jpg License: Public domain Contributors: digitalgallery.nypl.org : Home : Info : Pic Original artist: Unknown • File:Black_circle.jpg Source: https://upload.wikimedia.org/wikipedia/commons/0/0e/Black_circle.jpg License: Public domain Contributors: (Transferred from en.wikipedia – was: en:Image:Black Square.jpg) Original artist: Kazimir Malevich • File:Commons-logo.svg Source: https://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: CC-BY-SA-3.0 Contributors: ? Original artist: ? • File:Destijl_anthologiebonset.jpg Source: https://upload.wikimedia.org/wikipedia/commons/4/4d/Destijl_anthologiebonset.jpg License: Public domain Contributors: ? Original artist: ? • File:Flag_of_the_Netherlands.svg Source: https://upload.wikimedia.org/wikipedia/commons/2/20/Flag_of_the_Netherlands.svg License: Public domain Contributors: Own work Original artist: Zscout370 • File:Nuvola_apps_package_graphics.png Source: https://upload.wikimedia.org/wikipedia/commons/2/22/Nuvola_apps_package_ graphics.png License: LGPL Contributors: http://icon-king.com Original artist: David Vignoni / ICON KING • File:Piet_Mondrian,_1911,_Gray_Tree_(De_grijze_boom),_oil_on_canvas,_79.7_x_109.1_cm,_Gemeentemuseum_Den_ Haag,_Netherlands.jpg Source: https://upload.wikimedia.org/wikipedia/commons/8/80/Piet_Mondrian%2C_1911%2C_Gray_Tree_ %28De_grijze_boom%29%2C_oil_on_canvas%2C_79.7_x_109.1_cm%2C_Gemeentemuseum_Den_Haag%2C_Netherlands.jpg License: Public domain Contributors: www.gemeentemuseum.nl : Home : Info : Pic Original artist: Piet Mondrian • File:Question_book-new.svg Source: https://upload.wikimedia.org/wikipedia/en/9/99/Question_book-new.svg License: Cc-by-sa-3.0 Contributors: Created from scratch in Adobe Illustrator. Based on Image:Question book.png created by User:Equazcion Original artist: Tkgd2007 • File:RietveldSchroederhuis.jpg Source: https://upload.wikimedia.org/wikipedia/commons/9/9c/RietveldSchroederhuis.jpg License: Public domain Contributors: No machine-readable source provided. Own work assumed (based on copyright claims). Original artist: No machine-readable author provided. Steinbach assumed (based on copyright claims). • File:Rietveld_chair_1.JPG Source: https://upload.wikimedia.org/wikipedia/commons/0/00/Rietveld_chair_1.JPG License: CC-BYSA-3.0 Contributors: ? Original artist: ? • File:Symbol_book_class2.svg Source: https://upload.wikimedia.org/wikipedia/commons/8/89/Symbol_book_class2.svg License: CC BY-SA 2.5 Contributors: Mad by Lokal_Profil by combining: Original artist: Lokal_Profil • File:Theo_van_Doesburg_Composition_VII_(the_three_graces).jpg Source: https://upload.wikimedia.org/wikipedia/commons/ 4/4f/Theo_van_Doesburg_Composition_VII_%28the_three_graces%29.jpg License: Public domain Contributors: kemperartmuseum.wustl.edu : Home : Info Original artist: Theo van Doesburg • File:Wikiquote-logo.svg Source: https://upload.wikimedia.org/wikipedia/commons/f/fa/Wikiquote-logo.svg License: Public domain Contributors: Own work Original artist: Rei-artur

8.3

8.3

Content license

Content license

• Creative Commons Attribution-Share Alike 3.0

7

Abstraction-Création: Art non-figuratif  1932 Marlow Moss página #26

Traducción del del francés al español

Mi objetivo es introducir al público en el dominio del arte no figurativo, quiero limitarme aquí a una breve explicación de los razonamientos que me han llevado hacia esta nueva plástica.

Hasta hoy, la pintura ha empleado como medio de expresión las formas ya hechas por la naturaleza. Sin embargo, el objetivo del artista nunca ha sido simplemente dar una representación de estas formas. El artista se sentía atraído por las formas naturales porque, a pesar de la evidente mutabilidad de sus formas limitadas, parecían comunicarle una verdad inmutable y universal. Sin sentir la necesidad de profundizar en esta verdad, la aceptaba como un misterio.

Pero el pintor moderno ya no se contenta con este sentimiento de misterio. Sigue este razonamiento: si en efecto las formas naturales contienen un elemento de una verdad universal e inmutable, eso significa que estas formas están compuestas de dos elementos, es decir, un elemento cambiante en tanto que son formas visibles, y un elemento inmutable en tanto que pertenecen a esta verdad universal, que no es visible. Su verdadero valor no se encuentra, por lo tanto, en su forma visible, sino en la relación que existe entre esta forma y el universo. La tarea del hombre es, entonces, profundizar su conciencia del universo para poder establecer el equilibrio de relaciones que debe existir mutuamente entre estas formas visibles y lo invisible.

Una vez que ha formado una concepción mental del universo, ya no podrá servirse de las formas naturales para expresar esta concepción, porque estas formas naturales, siendo limitadas y teniendo solo un valor relativo, dan testimonio de esta verdad sin expresarla en su totalidad. El pintor ha sido, por lo tanto, obligado a crear una nueva plástica. He aquí lo que el arte no figurativo busca lograr. Quiere construir una plástica pura que pueda expresar en su totalidad la conciencia del artista hacia el universo.”

Análisis detallado del contenido:

1. Contexto histórico y artístico:
   • El texto refleja las ideas centrales del movimiento arte no figurativo y abstracción, que floreció en las primeras décadas del siglo XX. Este movimiento buscaba romper con la tradición artística de representar formas naturales y, en su lugar, explorar formas puras, colores y líneas como medios de expresión.
   • El texto menciona explícitamente la necesidad de una “nueva plástica”, lo que sugiere una ruptura con el arte figurativo y una búsqueda de un lenguaje visual más abstracto y universal.
2. Crítica a las formas naturales:
   • El autor argumenta que las formas naturales, aunque contienen una “verdad universal e inmutable”, son limitadas y no pueden expresar completamente la concepción del universo que el artista moderno busca transmitir.
   • Se plantea que las formas naturales tienen un valor relativo y que su verdadero significado no reside en su apariencia visible, sino en la relación entre lo visible y lo invisible (lo universal).
3. La tarea del artista moderno:
   • El texto enfatiza que el artista moderno ya no se conforma con la representación de formas naturales ni con la aceptación pasiva de su misterio. En cambio, busca profundizar en su conciencia del universo y crear una nueva plástica que exprese esta comprensión.
   • Esto implica un proceso intelectual y espiritual, en el que el artista debe trascender lo visible para explorar lo invisible y universal.
4. El arte no figurativo como solución:
   • El arte no figurativo se presenta como la respuesta a esta necesidad de expresar la totalidad de la conciencia del artista. En lugar de depender de formas naturales, el artista crea formas puras y abstractas que pueden comunicar directamente su visión del universo.
   • Este enfoque refleja la influencia de movimientos como el neoplasticismo (Mondrian) y el constructivismo, que buscaban eliminar lo superfluo y centrarse en elementos esenciales como líneas, planos y colores primarios.
5. Filosofía subyacente:
   • El texto tiene un tono casi filosófico, explorando la relación entre lo visible y lo invisible, lo mutable y lo inmutable, y lo relativo y lo universal.
   • Esta reflexión sugiere una influencia de corrientes filosóficas y espirituales de la época, como el teosofía (que influyó en artistas como Kandinsky y Mondrian) y el idealismo platónico, que busca trascender lo material para alcanzar lo universal.
6. Estilo y redacción:
   • El texto está escrito en un tono reflexivo y didáctico, dirigido a un público que quizás no está familiarizado con el arte no figurativo. Esto sugiere que podría ser parte de un manifiesto o un ensayo destinado a justificar y explicar el arte abstracto a un público más amplio.
   • La repetición de conceptos como “verdad universal”, “conciencia del universo” y “plástica pura” refuerza la idea de que el arte no figurativo no es solo un estilo, sino una búsqueda espiritual e intelectual.

En resumen: Este texto es un ejemplo fascinante de cómo los artistas y teóricos del arte no figurativo justificaban su ruptura con la tradición artística. No se trata solo de un cambio estético, sino de una búsqueda profunda de expresar lo universal y lo invisible a través de formas abstractas. Si bien Marlow Moss no es una figura ampliamente conocida, su reflexión encaja perfectamente en el contexto del movimiento Abstraction-Création y otros grupos de arte abstracto de la época.

Segunda parte

¿Marlow Moss atea?

Por que una persona no crea en el Dios inventado por la iglesia catolica, no quiere decir que esa persona es ateo

El texto que escribio Moss tiene resonancias filosóficas que pueden relacionarse con el pensamiento de Baruch Spinoza, particularmente con su obra “Ética demostrada según el orden geométrico”. Spinoza es conocido por su visión panteísta de Dios y el universo, donde Dios no es un ser trascendente separado del mundo, sino que es inmanente y se identifica con la naturaleza y el universo en su totalidad. Esta idea de una verdad universal e inmutable que subyace a lo visible tiene claros paralelos con el texto que analizamos.

Relación con Spinoza:

1. Dios como sustancia infinita:
   • Spinoza define a Dios como la única sustancia infinita que abarca todo lo que existe. En el texto que compartiste, se habla de una “verdad universal e inmutable” que está presente en las formas naturales pero que trasciende lo visible. Esta idea de una verdad universal que subyace a lo visible puede verse como una expresión de la sustancia infinita de Spinoza, que es la base de todo lo que existe.
2. Lo visible y lo invisible:
   • Spinoza distingue entre los modos finitos (las cosas particulares que vemos en el mundo) y la sustancia infinita (Dios o la naturaleza). En el texto, se habla de las formas naturales como algo limitado y mutable, mientras que la verdad universal es inmutable e invisible. Esto refleja la distinción spinoziana entre los modos finitos (lo visible) y la sustancia infinita (lo invisible).
3. La tarea del ser humano:
   • Para Spinoza, el objetivo del ser humano es alcanzar un conocimiento racional de Dios (o la naturaleza) para vivir en armonía con ella. En el texto, se menciona que la tarea del artista es “profundizar su conciencia del universo” para establecer un equilibrio entre lo visible y lo invisible. Esto sugiere una búsqueda similar de comprensión y armonía con lo universal.
4. La creación como expresión de lo universal:
   • Spinoza ve la creación no como un acto de un Dios personal, sino como la manifestación necesaria de la sustancia infinita. En el texto, el arte no figurativo se presenta como una forma de expresar la conciencia del artista hacia el universo, creando una “plástica pura” que trasciende las formas naturales. Esto puede interpretarse como una búsqueda de expresar lo universal (la sustancia infinita) a través del arte.

Análisis comparativo:

• Spinoza:
  En la Ética, Spinoza argumenta que todo lo que existe es una manifestación de Dios (o la naturaleza). No hay una separación entre lo divino y lo mundano; todo es parte de una misma sustancia infinita. El ser humano, a través de la razón, puede llegar a comprender esta verdad y vivir en armonía con ella.
• Texto sobre arte no figurativo:
  El texto argumenta que las formas naturales son limitadas y no pueden expresar completamente la verdad universal. El artista, al crear una “plástica pura”, busca expresar su conciencia del universo, trascendiendo lo visible para alcanzar lo invisible. Esto refleja una búsqueda similar de conexión con lo universal, aunque en el ámbito del arte.

Conclusión:

La conexión que haces entre el texto de Moss y el pensamiento de Spinoza es muy acertada. Ambos abordan la idea de una verdad universal que subyace a lo visible y proponen una búsqueda activa de comprensión y expresión de esta verdad. Mientras que Spinoza lo hace desde la filosofía y la razón, el texto lo aborda desde el arte y la creación plástica. Ambos comparten una visión del universo como un todo interconectado, donde lo visible y lo invisible están en constante relación.