The De Stijl movement was originally founded in 1917 by an aspiring group of young Dutch architects. The essential characters included Piet Mondrian, Theo Van Doesburg, and Bart Van Der Leck. While away in Holland in 1914, Piet Mondrian was forced to stay in Holland due to changes in the war. While staying in Holland, Mondrian met Bart Van Der Leck and Theo Van Doesburg. With their newly found friendship, the three men would soon found the De Stijl movement.

Within De Stijl exists three periods through which the movement as a whole is defined. The three periods go as follows: the immature period from 1916 to 1921, the mature period from 1921 to 1925, and the period of deterioration from 1925 to 1931. During the first immature and underdeveloped stage of De Stijl, the artists focused mainly to display painting and sculpture. They did so with drawings and sketching of city streets, and models for architectural design. Also during this phase, the artists worked closely with one another on the De Stijl magazine, a self-promoting magazine founded in 1917.

The second phase of De Stijl, also known as the mature stage, lasted from 1921 to 1925. During this phase most critics acclaim that De Stijl displayed its most lasting work.

Most critics believe that the other periods did not have the same prestige that this period had. By this time, due to a disagreement with the organization of De Stijl, Bart Van Der Lick had resigned. In 1921, the movement had made some radical changes. Theo Van Doesburg sought after the work of architect Eliezar Lissitzky, and together collaborated on many artistic excursions, including a showing at the Le once Rosenberg's Galeria de l'effort Modern in Paris, France. These and other showings were always successful, and the artists enjoyed tremendous success during this period.

The third phase of De Stijl lasted from 1925 to 1931. This represents the total deterioration of the movement. Piet Mondrian resigned his post after a confrontation with Theo Van Doesburg. Their style took on a less attractive appearance, and even some of De Stijls most supportive critics wondered what direction the movement had taken. They received criticism for their inconsistency, and were apparently considered to have lost their values.

Although De Stijl has long since survived, the artists eventually moved on, and most of their work finished around the 1930's.