Oud), Voorburg (Vilmos Huszár, Jan Wils) and Laren (Piet Mondrian, Bart van der Leck).

[1][2] De Stijl was also the name of a journal – published by the Dutch painter, designer, writer, poet and critic Theo van Doesburg – that propagated the group's theories.

Oud, Jan Wils, Gerrit Rietveld, Robert van 't Hoff, the sculptor and painter Georges Vantongerloo, and the poet and writer Antony Kok.

The art theory that formed the basis for the group's work was originally known as Nieuwe Beelding in Dutch, later translated to Neoplasticism in English.

With these constraints, his art allowed only primary colours and non-colours, only squares and rectangles, only straight and horizontal or vertical lines.

[6] The name De Stijl is supposedly derived from Gottfried Semper's Der Stil in den technischen und tektonischen Künsten oder Praktische Ästhetik (1861–1863), which Curl[7] suggests was mistakenly believed to advocate materialism and functionalism.

[8] Initially, De Stijl proposed this ultimate simplicity and abstraction, both in architecture and painting, by using only straight horizontal and vertical lines and rectangular forms.

This element of the tension embodied 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.

De Stijl was influenced by Cubist painting as well as by the mysticism and the ideas about "ideal" geometric forms (such as the "perfect straight line") in the neoplatonic philosophy of M. H. J. Schoenmaekers.

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.

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 from the international art world—and in particular, from Paris, which was its centre at that time.

In 1915, Schoenmaekers published Het nieuwe wereldbeeld ("The New Worldview"), followed in 1916 by Beginselen der beeldende wiskunde ("Principles of Visual Mathematics").

The social and economic circumstances of the time formed an important source of inspiration for their theories, and their ideas about architecture were heavily influenced by Hendrik Petrus Berlage and Frank Lloyd Wright.

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.

The De Stijl influence on architecture remained considerable long after its inception; Mies van der Rohe was among the most important proponents of its ideas.