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Anne van Loo

(b Liège, March 18, 1896; d 1995).

Belgian painter, designer and writer. He was a pupil of the Symbolist painter Jean Delville but started using geometric forms after discovering the work of František Kupka. In 1923 he began to collaborate on the avant-garde journal 7 Arts together with Pierre-Louis Flouquet (1900–67) and Karel Maes (1900–74). Also in 1923 he married the dancer Akarova (b 1904) who inspired his ‘Kaloprosopies’ (1925), an album of nine woodcuts, and for whom he designed costumes and stage sets. At the same time he embarked on the design of functional furniture, first in traditional materials and then in metal tubing (1930) and polychrome, cellulose-based lacquer. He opened his own decorating business in Brussels (1930–70) and showed his ‘Standax’ furniture, which could be assembled and dismantled, at the Exposition Internationale des Arts et Techniques dans la Vie Moderne (1937) in Paris. Baugniet was a promoter of the ...


(b Amersfoort, March 7, 1872; d New York, Feb 1, 1944).

Dutch painter, theorist, and draughtsman. His work marks the transition at the start of the 20th century from the Hague school and Symbolism to Neo-Impressionism and Cubism. His key position within the international avant-garde is determined by works produced after 1920. He set out his theory in the periodical of Stijl, De, in a series of articles that were summarized in a separate booklet published in Paris in 1920 under the title Le Néo-plasticisme (see Neo-plasticism) by Léonce Rosenberg. The essence of Mondrian’s ideas is that painting, composed of the most fundamental aspects of line and colour, must set an example to the other arts for achieving a society in which art as such has no place but belongs instead to the total realization of ‘beauty’. The representation of the universal, dynamic pulse of life, also expressed in modern jazz and the metropolis, was Mondrian’s point of departure. Even in his lifetime he was regarded as the founder of the most ...


Julius Kaplan

European cultural movement that was at its peak in the last two decades of the 19th century, profoundly affecting the visual arts and inextricably bound up with music and literature.

Symbolism was first identified as a literary movement by Jean Moréas (1856–1910) in the Symbolist manifesto (‘Le Symbolisme’, Le Figaro, 18 Sept 1886). Symbolism in the visual arts was further defined by Albert Aurier as the ‘painting of ideas’ (‘Les Symbolistes’, Rev. Enc., 1 April 1892). Its complex aesthetic was a mix of Platonic-inspired philosophy, mystical and occult doctrines, psychology, linguistics, science, political theory and such aesthetic issues as the relationship between abstraction and representation. While many Symbolists reacted against the materialism of 19th-century science and its implications (positivist philosophy, social Darwinism, artistic Realism), others sought to reconcile modern science with spiritual traditions. Ideas based on the rise of scientific psychology with its emphasis on individual freedom and the great interest in the occult, together with such practices as hypnosis, opened up a realm of psychic experience, which promised access to important realms of knowledge. Symbolism stressed feeling and evocation over definition and fact and emphasized the power of suggestion. ...