拍品專文
cf. Marijke Küper and Ida van Zijl, Gerrit th. Rietveld, 1992, pp. 74-76, no. 35; Daniele Baroni, The Furniture of Gerrit Thomas Rietveld, 1978, pp. 50-51; Barry Friedman LTD., Gerrit Rietveld: A Centenary Exhibition, 1988, pp. 22-28; Vitra Design Museum, 100 Masterpieces from the Vitra Design Museum Collection, 1995, pp. 210-211
The Rood Blauwe Stoel, or Red and Blue, is one of Gerrit Rietveld's (1888-1964) most significant designs. The chair and its constructivist composition had an important influence on 20th century architects and designers such as Mart Stam, Mies van der Rohe, Marcel Breuer and Le Corbusier.
Though traditionally given the date of 1918, it is difficult to determine the exact date of the chair design. The armchair was first seen in the September issue of De Stijl in 1918, which was accompanied by a text by Rietveld: "..With this chair the aim was to keep each part simple, preserving the form inherent in the original use and character of the material, the form that most easily leads to a harmonious entity based on a standard model for all the separate elements. The design enables the parts to be joined without any deformation, so that no one part is too dominant or is subordinate to another; as a result, the design occupies the space clearly and freely as a single entity, the form being more important than the material. .."
The first versions of the armchair were not painted. They were executed by G. van de Groenekan, who started to work with Rietveld on his designs in the years of 1917-1918. It was a simple construction, of slightly larger dimensions than the later model with additional panels below the arm-rests.
It was not until Rietveld joined De Stijl, a group of artists and architects centered around Theo van Doesburg, that the design was modified. The early period photographs show the armchair without any color. In 1919, to celebrate the birth of his son Jan, Rietveld designed a cradle which he painted in red and yellow and decorated with a piece of blue fabric. The use of primary colours on his designs was most likely inspired by Doesburg and Vilmos Huszár. It was at that time that he first used color to emphasize the simplistic design of the armchair, and different colored versions were created. Amongst these was one in pink and sea-green, one in white, and another in black and white. In 1922, Rietveld designed the interior of the Hartog House in Maarssen, where primary colors were applied to highlight light switches, right-angled areas and door-handles. At about this time Rietveld painted the armchair red, blue and yellow, the bright strong primary colors associated with the design of the armchair today.
The Rood Blauwe Stoel, or Red and Blue, is one of Gerrit Rietveld's (1888-1964) most significant designs. The chair and its constructivist composition had an important influence on 20th century architects and designers such as Mart Stam, Mies van der Rohe, Marcel Breuer and Le Corbusier.
Though traditionally given the date of 1918, it is difficult to determine the exact date of the chair design. The armchair was first seen in the September issue of De Stijl in 1918, which was accompanied by a text by Rietveld: "..With this chair the aim was to keep each part simple, preserving the form inherent in the original use and character of the material, the form that most easily leads to a harmonious entity based on a standard model for all the separate elements. The design enables the parts to be joined without any deformation, so that no one part is too dominant or is subordinate to another; as a result, the design occupies the space clearly and freely as a single entity, the form being more important than the material. .."
The first versions of the armchair were not painted. They were executed by G. van de Groenekan, who started to work with Rietveld on his designs in the years of 1917-1918. It was a simple construction, of slightly larger dimensions than the later model with additional panels below the arm-rests.
It was not until Rietveld joined De Stijl, a group of artists and architects centered around Theo van Doesburg, that the design was modified. The early period photographs show the armchair without any color. In 1919, to celebrate the birth of his son Jan, Rietveld designed a cradle which he painted in red and yellow and decorated with a piece of blue fabric. The use of primary colours on his designs was most likely inspired by Doesburg and Vilmos Huszár. It was at that time that he first used color to emphasize the simplistic design of the armchair, and different colored versions were created. Amongst these was one in pink and sea-green, one in white, and another in black and white. In 1922, Rietveld designed the interior of the Hartog House in Maarssen, where primary colors were applied to highlight light switches, right-angled areas and door-handles. At about this time Rietveld painted the armchair red, blue and yellow, the bright strong primary colors associated with the design of the armchair today.