Echoes of the De Stijl Movement in Eileen Gray’s Work

Abstract

This article exposes the influence of the De Stijl movement in Eileen Gray’s work being based on the finding of temporary interconnections on publications and exhibitions, but especially on the the synthetic analysis of the projects and works and their confrontation. Eileen Gray’s self-taught learning was based on both, the critical remark to the art and architecture of her context and in her own interests and skills. The link between her work and the Dutch avant-garde movements goes back to her beginnings as a designer when, for example, her installation Boudoir for Monte-Carlo, placed in the Salon des Artistes Décoráteurs in Paris (1923) had an important impact in the magazine of the Amsterdam’s School, Wendingen (1924). De Stijl Group’s postulates assumed the visual revolution of cubism, linked to the spatial conception, and its immediate repercussion in projects of architecture and design was widespread in the work of observers authors such as Eileen Gray.