Възгледите на „Де стийл“ и Баухаус, или за връзката между живопис и архитектура в европейското изкуство
De Stijl, Bauhaus’ Views or about the Painting/Architecture Relationship in European Arts

Summary/Abstract: Avant-garde painting of the early twentieth century sought to find new views of representing form and space, introducing purposeful use of smooth planes. This was a common conceptual moment both to painting and architecture. Most tangibly the new ideas are witnessed in the Dutch De Stijl group, founded in 1917. Most of the members of the group were trying to transfer the concepts of neoplasticism to architecture. The ideas of the German art school Bauhaus established a few years later were similar with analogous quest found in its doctrine. Prerequisites determining the state of architecture and providing favourable creative environment are the development of engineering studies and techniques and the invention of steel and reinforced concrete. Still, architecture of the twentieth century means in the first place renouncement of historicism and ornamentalism, replaced by a clear functionalism. Creation of modern architecture takes much more than reformation of its plastic language. A new philosophy is built, which makes the best use of innovations and engineering techniques. Innovative views should not be treated as coincidental or historically unconditioned. Even in cases when these come from individual persons or small creative groups, they reflect ideas coming as a result of evolving creative thinking. Art reorients from objective expression of reality towards subjective, avant-garde and even scientific, passing from cubism to abstractionism.

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