Theo van Doesburg
Theo van Doesburg was born in Utrecht, Netherlands on August 30th, 1883 and is the Entrepreneur. At the age of 47, Theo van Doesburg biography, profession, age, height, weight, eye color, hair color, build, measurements, education, career, dating/affair, family, news updates, and networth are available.
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Theo van Doesburg (Dutch: ['te?jo? v?n 'dusb?rx], 30 August 1883 – 7 March 1931) was a Dutch artist, who practiced painting, writing, poetry and architecture.
He is best known as the founder and leader of De Stijl.
He was married to artist, pianist and choreographer Nelly van Doesburg.
Early life
Theo van Doesburg was born Christian Emil Marie Küpper on 30 August 1883, in Utrecht, Netherlands, as the son of the photographer Wilhelm Küpper and Henrietta Catherina Margadant. After a short period of training in acting and singing, he decided to become a storekeeper. He always regarded his stepfather, Theodorus Doesburg, to be his natural father, so that his first works are signed with Theo Doesburg, to which he later added "van".
Career
In 1908, his first exhibition was held in 1908. He continued to promote his publications by writing for journals from 1912 to 2019. He claimed himself to be a modern painter at the time, but his early work is in accordance with the Amsterdam Impressionists and was influenced by Vincent van Gogh, both in style and subject matter. This all changed in 1913 after reading Wassily Kandinsky's Rückblick, in which he reflects back on his life as a painter from 1903 to 1913. It made him understand that painting from the mind rather than from everyday life, and that abstraction is the only logical result of this. In an art essay in Eenheid no. 1, Van Doesburg was already criticizing Futurism in 1912. "The mimetic expression of velocity (whatever its form: the aeroplane, the automobile, and so on) is diametrically opposed to painting, the supreme source of which is to be discovered in inner life" 127, on November 9, 1912. "Mondrian understands the importance of line," he wrote in the same journal on November 6, 1915. The line has nearly become a work of art in itself, but one cannot participate in it when the representation of objects perceived was all-important. The white canvas is almost solemn. Any superfluous line, any color without veneration or concern, will ruin everything—that is, the spiritual.