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Abstract This dissertation will shed light on the main artistic and theoreticaldifferences between Piet Mondrian and Theo van Doesburg two prominentmembers of De Stijl movement In order to do so this work outlines themain principles that animated the artistic philosophy of De Stijlmovement paying particular attention to the manner in which Mondriansabstractions influenced the pattern of De Stijl movement Mondriansrejection of the application of De Stijls artistic principles to thefield of architecture was displayed through his insistence on the use ofgeometrical forms and of strong asymmetrical tendencies that underlinevertical and horizontal compositional forms This study also looks intothe Elementarist variation of De Stijl evaluating the way in which VanDoesburg succeeded in going beyond the static ideas imposed byMondrians artistic template This dissertation suggests that throughthe Elementarist support of the use of diagonal forms and at an angle ofcompositional schemes Van Doesburg managed to inject dynamism into DeStijl that enabled the movement to exceed the static forms ofrepresentation approved by Mondrian in order to become an influentialtheoretical framework for the world of architecture IntroductionThis dissertation focuses on the debate between Mondrian and vanDoesburg regarding the application of the theoretical principlesinvolved in De Stijls artistic philosophy The nature of the debateinvolved Mondrians view of De Stijl as an artistic representative formthat could merge art and life Unlike Mondrian Van Doesburg with hisuse of diagonal forms approved theoretical expressions that could beapplied to the world of architecture This work examines thesimilarities and differences involved in both approaches and theirapplication to the field of architecture Supporters of De Stijl were in favour of reducing colour and form totheir fundamental essence thereby creating a pure universalabstraction In order to do this they chose to use palettes of whiteblack and primary colours only Janssen and White 2011 92 They alsosupported the simplification of composition in their use of horizontaland vertical lines avoiding the use of diagonals or geometric shapesthat might wander off from the straight line In fact Mondrian notesthese
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