Theo van Doesburg (1883 - 1931). Theo van Doesburg 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. Theo van Doesburg was born Christian Emil Marie Küpper on 30 August 1883, in Utrecht, the Netherlands, as the son of the photographer Wilhelm Küpper and Henrietta Catherina Margadant. After a short 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 the insertion van. His first exhibition was in 1908. From 1912 onwards, he supported his works by writing for magazines. He considered himself to be a modern painter, at that time, although his early work is in line with the Amsterdam Impressionists and is influenced by Vincent van Gogh, both in style and subject matter. This suddenly changed in 1913 after reading Wassily Kandinsky's Rückblicke, in which he looks back at his life as a painter from 1903 to 1913. It made him realize there was a higher, more spiritual level in painting that originates from the mind rather than from everyday life, and that abstraction is the only logical outcome of this. It was already in 1912 that Van Doesburg was criticizing Futurism in an art article in Eenheid no. 127, on 9 November 1912, because The mimetic expression of velocity is diametrically opposed to the character of painting, the supreme origin of which is to be found in inner life. On 6 November 1915, he wrote in the same journal: Mondrian realizes the importance of line. The line has almost become a work of art in itself; one can not play with it when the representation of objects perceived was all-important. The white canvas is almost solemn. Each superfluous line, each wrongly placed line, any color placed without veneration or care, can spoil everything, that is, the spiritual. It was while reviewing an exposition for one of these magazines he wrote for, in 1915, that he came in contact with the works of Piet Mondrian, who was eight years older than he was, and had by then already gained some attention with his paintings. Van Doesburg saw in these paintings his ideal in painting: a complete abstraction of reality. Soon after the exposition Van Doesburg got in contact with Mondrian, and together with related artists Bart van der Leck, Antony Kok, Vilmos Huszár and Jacobus Oud they founded the magazine De Stijl in 1917. Although De Stijl was made up of many members, Van Doesburg was the ambassador of the movement, promoting it across Europe. He moved to Weimar in 1922, deciding to make an impression on the Bauhaus principal, Walter Gropius, to spread the influence of the movement. While Gropius accepted many of the precepts of contemporary art movements he did not feel that Doesburg should become a Bauhaus master. Doesburg then installed himself near to the Bauhaus buildings and started to attract school students interested in the new ideas of Constructivism, Dadaism, and De Stijl. The friendship between Van Doesburg and Mondrian remained strong in these years, although their primary means of communication was by letter. In 1923 Van Doesburg moved to Paris, together with his later wife Nelly van Moorsel. Because the two men got to see each other on a much more regular basis the differences in character became apparent: Mondrian was an introvert, while van Doesburg was more flamboyant and extravagant. During 1924 the two men had disagreements, which eventually led to a temporary split that year. The exact reason for the split has been a point of contention among art historians; usually the divergent ideas about the directions of the lines in the paintings have been named as the primary reason: Mondrian never accepted diagonals, whereas Doesburg insisted on the dynamic aspects of the diagonal, and indeed featured it in his art. Mondrian accepted some concepts of diagonals, such as in his Lozenge paintings, where the canvas was rotated 45 degrees, while still maintaining horizontal lines. In recent years, however, this theory has been challenged by art historians such as Carel Blotkamp, who cites the artist's different concepts about space and time. After the split, Van Doesburg launched a new concept for his art, Elementarism, which was characterized by the diagonal lines and which rivaled Mondrian's Neo-Plasticism. In 1929 the two men reconciled when they accidentally met in a café in Paris.