Ray,
Thanks for your reply---yeah, that's my last name--Darrall. Not how it is
usually spelled, so our family has spent a good portion of our lives having
our name misspelled and mispronounced.
Wright was very influential in Europe---in fact, if it had not been for the
Wasmuth portfolios (1910-1911), Wright might have remained an American
oddity! The first built expressions of his influence in Europe were,
according to Pevsner, Gropius' Cologne Exhibition Office Building (1914) and
Rob van't Hoff's villa at Huis ter Heide, Holland (1915-16). H.P. Berlage
visited the States, attending lectures and visting sites, thus learning of
Wright first hand.
Paul Overy claims a philosophical connection between Wright and the Dutch
, but Nancy Troy cautions that Wright was not THE overiding influence to
De Stijl---that European culture was highly complex and in a very energetic
flux at the time, and thereby enriched the exploration of the Dutch, who
drew on Wright's Froebel compositions of cubic masses and voids to extend
towards Cubism+
(sorry. cat jumped on the keyboard and hit the + and Enter keys)
, which, by further emphasizing spatial and mass overlap, probably led to
the extreme "openess" of De Stijl as expressed at Schroeder House.
We can't forget the strong ties to social theory the De Stijl artists had,
either, though that's best saved for a different thread. Suffice it to say that
that
is a significant difference between Wright and the De Stijl---Democracy vs.
the Socialistic leanings of the Dutch.
Here's my sources for this:
Curtis, William J.R. _Modern Architecture Since 1900_. Englewood Cliffs:
Prentice-Hall, 1987. 2nd ed.
Overy, Paul. _De Stijl._ World of Art series. New York: Thames and Hudson, 1991.
Pevsner, Nikolaus. _The Sources of Modern Architecture and Design._ World of
Art Series. New York: Thames and Hudson, 1968.
Troy, Nancy J. _The De Stijl Environment._ Cambridge: MIT, 1983.
Whitford, Frank. _Bauhaus._ World of Art series. New York: Thames and Hudson,
1984.
This post is a little sloppy, as I didn't cite all the individual references.
I apologize and would be happy to answer any challenges or questions, given
a little time. My claim made as to the effect of Cubism on Reitveld's spaces
is entirely mine---and I'm hedging a bit!
Best to all,
Mark
Thanks for your reply---yeah, that's my last name--Darrall. Not how it is
usually spelled, so our family has spent a good portion of our lives having
our name misspelled and mispronounced.
Wright was very influential in Europe---in fact, if it had not been for the
Wasmuth portfolios (1910-1911), Wright might have remained an American
oddity! The first built expressions of his influence in Europe were,
according to Pevsner, Gropius' Cologne Exhibition Office Building (1914) and
Rob van't Hoff's villa at Huis ter Heide, Holland (1915-16). H.P. Berlage
visited the States, attending lectures and visting sites, thus learning of
Wright first hand.
Paul Overy claims a philosophical connection between Wright and the Dutch
, but Nancy Troy cautions that Wright was not THE overiding influence to
De Stijl---that European culture was highly complex and in a very energetic
flux at the time, and thereby enriched the exploration of the Dutch, who
drew on Wright's Froebel compositions of cubic masses and voids to extend
towards Cubism+
(sorry. cat jumped on the keyboard and hit the + and Enter keys)
, which, by further emphasizing spatial and mass overlap, probably led to
the extreme "openess" of De Stijl as expressed at Schroeder House.
We can't forget the strong ties to social theory the De Stijl artists had,
either, though that's best saved for a different thread. Suffice it to say that
that
is a significant difference between Wright and the De Stijl---Democracy vs.
the Socialistic leanings of the Dutch.
Here's my sources for this:
Curtis, William J.R. _Modern Architecture Since 1900_. Englewood Cliffs:
Prentice-Hall, 1987. 2nd ed.
Overy, Paul. _De Stijl._ World of Art series. New York: Thames and Hudson, 1991.
Pevsner, Nikolaus. _The Sources of Modern Architecture and Design._ World of
Art Series. New York: Thames and Hudson, 1968.
Troy, Nancy J. _The De Stijl Environment._ Cambridge: MIT, 1983.
Whitford, Frank. _Bauhaus._ World of Art series. New York: Thames and Hudson,
1984.
This post is a little sloppy, as I didn't cite all the individual references.
I apologize and would be happy to answer any challenges or questions, given
a little time. My claim made as to the effect of Cubism on Reitveld's spaces
is entirely mine---and I'm hedging a bit!
Best to all,
Mark