Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
170<br />
desire to sever art’s links with lived reality, and to lift it to a level above<br />
that of fashionable taste and the commercial system of exchange (an<br />
unfulfilled aspiration, of course), the long-term effect was a new direction<br />
for the lived-in modern interior through the twentieth century. <strong>The</strong><br />
absorption of the interior into a sequence of modern art movements<br />
served to transform it, both theoretically and actually, from a visual,<br />
material and spatial reality into an abstract concept. That new direction<br />
of travel had two distinct manifestations. Firstly, in the work of the Dutch<br />
De Stijl artists, the interior became part of a highly abstracted redefinition<br />
of space that took place, in the first instance, in two dimensions<br />
on the painted canvas, but which was subsequently reintroduced into<br />
three dimensions in the form of architectural models and constructions.<br />
Secondly a number of <strong>Modern</strong>ist architects, inspired by the work of the<br />
Cubists and the Constructivists, began to see the creation of architecture,<br />
and of the interior, as being synonymous with the abstract manipulation<br />
of space.<br />
A set of collaborations between artists and architects characterized<br />
the developments that took place in <strong>The</strong> Netherlands in the years immediately<br />
after the First World War. <strong>The</strong> result was the emergence of a new<br />
definition of the interior and of the furniture items within it. Those<br />
artists and architects established their collaborations, in broad terms,<br />
upon the premise that painting and architecture were two very distinct<br />
and different disciplines that could, nonetheless, complement each other<br />
through the relationship of colour’s potential for spatial construction. 6<br />
<strong>The</strong> Dutch architect, Bart van der Leck, was a key protagonist in those<br />
collaborations. He had begun his career as an applied artist in the 1890s<br />
and he acted as an important bridge between the ideas of the English Arts<br />
and Crafts architects and designers and the work of the De Stijl group of<br />
which he was a member. He subsequently worked on a range of architectural<br />
projects with the Amsterdam-based architect H. P. Berlage. <strong>The</strong><br />
artist <strong>The</strong>o van Doesburg worked with the architects Jan Wils and J.J.P.<br />
Oud, who were also both heavily influenced by Berlage. Another applied<br />
artist and painter, Vilmos Huszár, collaborated with the architect Piet<br />
Klaarhamer in the development of a number of sophisticated ideas<br />
about the difference between the decorative and the plastic arts. He also<br />
ventured into furniture design. Piet Zwart, another De Stijl artist with an<br />
Arts and Crafts background, also took an interest in interiors and made<br />
a significant contribution to exhibition design. His designs were temporary,<br />
highly branded structures, intended as frames for the commodities