Abstract
In the formative years of "De Stijl" clearly exist some artistic beliefs shared by its contributors. The present paper pays special attention to the idea of "samenwerking," one of whose possibilities might have been regarded as sharing. It then tries to clarify the significance of that idea in the creative activity. To solve the problem I make full use of the remarks that J.J.P.Oud and Theo van Doesburg made. Conclusively, it is identified that "samenwerking" was established through destroying the structure in which architecture dominates visual arts, and that "De Stijl" is positioned on the end of the 19th century's movement in the Netherlands.
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