Colour Solution for Interior - Theo van Doesburg
Archival giclée
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Description
A 1919 interior design study by Theo van Doesburg, demonstrating the application of De Stijl principles through primary colours and geometric forms.
This work, titled 'Proeve van Kleurencompositie in Interieur', represents a fundamental moment in the development of the De Stijl movement. Created in 1919, it demonstrates the application of Neo-Plasticist principles to architectural space. Theo van Doesburg, a central figure in the Dutch avant-garde, sought to dissolve the traditional boundaries between art and the domestic environment. By using a strict palette of primary colours, alongside black, white, and grey, he transforms the room into a three-dimensional canvas.
The composition features furniture designed by Gerrit Rietveld, whose geometric, linear forms align with the aesthetic goals of the movement. The walls, ceiling, and floor are treated as planes of colour, intended to alter the perception of space and volume. Rather than decorating a room, Van Doesburg treats the interior as a unified construction where every element contributes to a balanced, rhythmic whole. The placement of red, yellow, and blue panels serves to define the structural logic of the room, creating a sense of order and clarity.
This print captures the original design study, which was published as an insert in the journal 'De Stijl' (Volume 3, Number 12). It provides a clear view of how the movement approached the integration of painting and architecture. The stark, clean lines and the deliberate use of flat colour planes reflect the rejection of ornamentation in favour of pure, universal form. This approach influenced modern interior design and architecture throughout the twentieth century, prioritising function and geometric harmony over traditional decorative styles. The work remains a primary example of how the De Stijl group attempted to create a total work of art, or Gesamtkunstwerk, through the application of their specific visual language to the spaces people inhabit daily.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Colour Solution for Interior - Theo van Doesburg
Artist Biography
Theo Van Doesburg
He was born in Utrecht in 1883. After encountering Mondrian's work around 1915, he sought him out and together they launched the magazine De Stijl in 1917, along with Bart van der Leck, Vilmos Huszar, J.J.P. Oud and Antony Kok. Van Doesburg was the movement's organiser, publicist and ambassador, travelling across Europe to promote Neoplasticism while Mondrian stayed in his studio.
In 1922 he moved to Weimar and set up an unofficial school near the Bauhaus to attract students to Constructivist and De Stijl ideas. Walter Gropius acknowledged the influence but refused to give Van Doesburg a teaching post. The rivalry was productive: Bauhaus design absorbed De Stijl principles without crediting the source.
The break with Mondrian came over diagonals. Mondrian insisted on strictly horizontal and vertical lines; Van Doesburg introduced the diagonal in his Counter-Compositions, arguing for dynamic rather than static geometry. They stopped speaking. In 1929 they met accidentally in a Paris cafe and reconciled.
He married three times. His third wife, Nelly van Moorsel, was an artist, pianist and choreographer. He died in Davos in 1931, at forty-seven, from a heart attack. De Stijl ended with him.
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